MIGUEL  DE  CERVANTES  SAAVEDRA 


SUPUESTO  RETRATO  DE  CERVANTES 

Atribuido  a  Juan  de  Jduregui  y  A  guitar 


lfoeatb'0  fiDofcern  Xansuaae  Series 
TEN  SPANISH   FARCES 

OF  THE 
16th,  17th  AND  18th  CENTURIES 

EDITED  WITH  NOTES  AND  VOCABULARY 

BY 
GEORGE  TYLER  NORTHUP,  Ph.D. 

PROFESSOR   OF    SPANISH    LITERATURE 
UNIVERSITY   OF   CHICAGO 


D.  C.  HEATH   &  CO.,  PUBLISHERS 

BOSTON  NEW   YORK  CHICAGO 


COPYRIGHT.  1922, 
BY  D.  C.  HEATH  &  Co. 

2o2 


PRINTED   IN   U.S.A. 


LIBRARY 

UNIVERSITY  OF  CALIFORNI 
SANTA  BARBARA 


PREFACE 

ALTHOUGH  the  list  of  classic  Spanish  plays  edited  for  the 
classroom  is  constantly  becoming  more  extensive,  the  farce 
genre  has  been  wholly  neglected  by  our  writers  of  textbooks. 
And  yet  the  student  cannot  properly  understand  the  comedia  as 
a  whole  if  his  attention  is  directed  exclusively  to  serious  plays, 
to  the  neglect  of  those  humorous  trifles  without  the  accom- 
paniment of  which  the  longer  pieces  were  never  acted.  The 
present  book  is  an  attempt  to  supply  this  lack.  It  is  intended 
for  students  of  the  older  drama  and,  like  any  other  book  of 
the  sort,  should  be  used  only  by  those  grounded  in  modern 
Spanish. 

The  selections  illustrate  the  development  of  the  Spanish 
farce  as  it  grows  out  of  the  paso  into  the  entremes,  out  of  the 
entremes  into  the  sainete.  It  is  believed  that  the  injection  of 
a  little  more  humor  into  the  Spanish  Drama  Course  will  in- 
crease the  student's  interest  in  this  form  of  literature.  The 
plays  chosen,  though  possessing  much  of  the  sabor  de  la  tierruca, 
have  comic  situations  universal  in  their  appeal.  In  view  of 
the  success  with  which  several  of  Cervantes'  farces  have  been 
acted  in  a  number  of  our  Universities,  it  is  hoped  and  believed 
that  most  of  the  selections  in  this  book  will  prove  suitable 
for  dramatic  representation  by  Spanish  Conversation  Clubs. 

Some  teachers  may  wonder  at  the  inclusion  of  such  a  piece 
as  El  entremes  de  refranes.  This  was  chosen  because  it  offers 
a  convenient  approach  to  the  study  of  proverb  lore.  Proverbs 
run  through  nearly  the  whole  of  Spanish  literature.  An 
understanding  of  them  is  essential  to  the  appreciation  of 
almost  any  Spanish  masterpiece.  At  some  point  in  his  course 


iv  PREFACE 

the  student's  attention    should    be  especially  focused  upon 
them. 

The  Vocabulary  is  the  work  of  my  wife,  Emily  C.  Northup. 
I  desire  to  thank  the  following  gentlemen  for  the  valuable 
advice  they  have  given  me  on  certain  difficulties  of  detail: 
Professor  Karl  Pietsch,  University  of  Chicago;  Professor 
E.  C.  Hills,  University  of  Indiana;  Professor  F.  O.  Reed, 
University  of  Wisconsin;  Mr.  Carlos  Castillo,  University  of 
Chicago,  and  Dr.  Alexander  Green  of  D.  C.  Heath  &  Company. 

G.  T.  N. 


CONTENTS 

PAGE 

PREFACE iii 

INTRODUCTION vii 

BIBLIOGRAPHICAL  NOTE xxxiv 

PASO  SEPTIMO  (LOPE  DE  RUEDA) 3 

LA  CUEVA  DE  SALAMANCA  (CERVANTES) n 

Los  Dos  HABLADORES  (ATRIBOTDO  A  CERVANTES)     .    .  29 

ENTREMES  DE  REFRANES  (ATRIBUIDO  A  CERVANTES)   .  41 

EL  DOCTOR  Y  EL  ENFERMO  (QUINONES  DE  BENAVENTE)  53 
OBRAS  ANONIMAS: 

ENTREMES  DEL  ESPEJO  Y  BURLA  DE  PABLILLOS  .    .  69 

JUAN  RANA  COMILON 81 

Los  BUNUELOS 91 

EL  HAMBRIENTO 101 

LAS  TERTULIAS  DE  MADRID  (RAMON  DE  LA  CRUZ) ...  in 

NOTES 139 

VOCABULARY 185 


s 


INTRODUCTION 

/.    THE  ENTREMES 

Entremes  and  Paso.  —  Among  the  various  etymologies  sug- 
gested for  the  word  entremes  that  most  commonly  accepted  is 
inter  +  missum,  "  something  placed  between."  Like  its  French 
cognate,  entremets,  it  was  first  used  in  a  culinary  sense.  An 
entremes  was  a  "  dainty  "  served  between  the  principal  courses 
of  a  dinner.  Even  after  the  word  had  taken  on  other  mean- 
ings this  primitive  significance  was  borne  in  mind.  Quinones 
de  Benavente  writes: 

Entremes  es  una  salsa 

para  comer  la  comida.     (Entremes  de  las  nueces) 

The  word  came  into  Spanish  through  the  Catalonian  and 
Valencian  tongues.  Fifteenth  century  documents  use  it  to 
designate  entertainments,  theatrical  or  otherwise.  The  plays 
so  called  are  not  necessarily  farces;  on  the  contrary,  religious, 
allegorical  plays  were  sometimes  termed  entremeses.  In  these 
senses  the  word  comes  into  Castilian  about  the  middle  of  the 
fifteenth  century.  Lope  de  Rueda  in  the  next  century  called 
his  farces  pasos,  "  incidents."  He  uses  entremes  to  mean  a 
comic,  irrelevant  episode  inserted  in  the  main  body  of  a  play, 
just  as  Italian  playwrights  of  the  time  made  like  use  of  the  terms 
intermedia  and  intermezzo.  His  friend  and  imitator,  Juan  de 
Timoneda,  uses  paso  and  entr erne's  synonymously.  In  the 
closing  decade  of  the  sixteenth  century  entreme's  becomes  the 
recognized  name  of  a  fixed  dramatic  form.  We  may  translate 
it  either  "  farce  "  or  "  interlude." 

An  entremes  was  a  one-act  farce,  either  in  prose  or  verse, 
written  to  be  played  between  the  acts  of  a  longer  and  more 

vii 


Vlll  INTRODUCTION 

serious  play.  Unlike  the  comedia  with  its  complicated  in- 
trigue, plot  is  here  reduced  to  its  lowest  terms.  The  merest 
comic  incident  suffices.  Interest  depends  upon  the  char- 
acters, their  jokes  and  horse-play.  These  characters  were 
plebeian,  and  this,  to  Lope  de  Vega,  was  the  prime  distinction. 
In  his  Arte  nuew  de  hacer  comedias,  he  speaks  of  an  entr ernes  as, 

siendo  una  accion  y  entre  plebeya  gente, 
porque  entremes  de  rey  jamas  se  ha  visto. 

Drawn  from  low  life,  the  personages  of  an  entremes  were  por- 
trayed with  a  realism  passing  readily  into  burlesque.  They 
rapidly  became  conventionalized  comic  types.  Tirso  de 
Molina  tells  us  (Tanto  es  lo  de  mas  como  lo  de  menos,  Act  II, 
scene  6)  that  the  older  entremeses  ended  with  a  slap-stick 
scuffle,  for  which  the  later  ones  substituted  the  dance.  But 
while  it  is  true  that  the  song  and  dance  soon  became  the 
inevitable  finale  of  every  farce,  it  must  not  be  supposed  that 
beatings  and  clubbings  were  suppressed;  on  the  contrary  few 
farces  lack  these  mirth-provoking  expedients. 

The  Origins  of  the  Spanish  Farce.  —  Long  before  the  word 
entremes  was  restricted  in  meaning  to  designate  a  playlet  of 
the  sort  described,  the  thing  itself  existed.  The  origins  of 
the  Spanish  farce  are  to  be  sought  in  the  juegos  de  escarnios 
against  which  the  clergy  declaimed  and  statesmen  legislated 
as  early  as  the  thirteenth  century.  We  have  no  very  clear 
idea  as  to  what  these  plays  were  like;  but  their  name  suggests 
realistic  satire,  and  we  know  that  their  licentiousness  scan- 
dalized the  pious.  They  probably  differed  little  from  the 
comic  scenes  acted  in  connection  with  the  mediaeval  miracle 
and  mystery  plays  that  have  come  down  to  us  in  other  litera- 
tures. 

The  oldest  Spanish  farce  preserved  is  Juan  del  Encina's 
Auto  del  repeldn,  1496.  Though  called  an  auto,  "  act,"  this 
playlet  is  in  every  essential  an  entrants.  Two  Salamanca 
students  play  tricks  upon  two  stupid  peasants  who  have  come 


INTRODUCTION  IX 

to  town  to  sell  vegetables.  The  students  throw  the  country- 
men's vegetables  into  the  mud,  drive  away  their  donkeys,  and 
pull  their  hair.  Much  of  the  humor  depends  upon  the  peasant 
dialect,  the  naive  expressions  of  the  rustics,  their  negro-like 
misuse  of  long  words.  We  find  here  already  two  of  the  com- 
monest farce  types;  the  student  and  the  bobo,  or  simple,  the 
rural  simpleton. 

Diego  Sanchez  de  Badajoz,  who  lived  through  the  first 
quarter  of  the  sixteenth  century,  introduces  many  comic 
episodes  and  parts  into  .his  religious  allegories.  The  sacristan, 
the  negro,  the  Moor,  the  boastful  soldier,  the  page,  the  blind 
man  and  his  boy,  the  alguacil,  and  other  types  known  to  the 
later  farce  appear  in  his  works.  None  of  these  plays  is  a 
typical  entremes;  Sanchez  de  Badajoz  is  to  be  regarded  as  a 
connecting  link  between  the  old  religious  drama  and  the 
secular  theater  which  followed.  Similar  comic  parts  may  also 
be  observed  in  the  works  of  Lucas  Fernandez,  Gil  Vicente,  and 
other  early  dramatists. 

II.    THE    COM  MEDIA    DELL'ARTE 

In  its  development  the  Spanish  entremes  was  undoubtedly 
influenced  to  some  extent  by  the  Italian  commedia  dell'arte, 
to  how  great  an  extent  is  unknown.  This  is  a  matter  still 
awaiting  research. 

The  Commedia  dell'arte^  the  Improvised  Comedy,  or  Comedy 
of  Masks,  as  it  is  variously  styled,  was  a  form  of  the  drama 
which  came  into  full  existence  in  Italy  about  the  middle  of  the 
sixteenth  century.  It  had  been  developing  for  two  or  three 
generations  previous  to  that  time.  Its  most  marked  charac- 
teristic was  that  the  author  provided  only  a  plot-scenario;  the 
dialogue  was  supplied  by  the  actors  themselves.  In  connec- 
tion with  it  there  developed  a  number  of  conventionalized 
roles,  or  masks,  so  called  because  each  part  had  its  appro- 
priate mask  and  costume. 


X  INTRODUCTION 

These  characters  were  always  undergoing  modification,  and 
new  parts  were  frequently  invented.  The  most  important, 
however,  were  the  following:  The  old  man  part,  Pantaloon, 
who  represented  the  merchant  class  of  Venice,  and  spoke  the 
dialect  of  that  city;  the  Doctor  Graziano,  the  doctor  of  law  of 
the  University  of  Bologna;  the  captain,  or  braggart  soldier, 
descended  from  the  Miles  gloriosus  of  Plautus,  and  who  under 
the  fantastic  names  of  Matamoros,  Spavento,  Fracassa, 
Coccodrillo,  etc.,  typified  the  swaggering,  boastful,  Spanish 
conqueror  of  Italy,  whom  Italians  depicted  as  a  coward  at 
heart  in  spite  of  his  brave  words;  the  two  zanni,  or  clowns, 
one  of  whom,  often  called  Harlequin,  was  intelligent,  while  the 
other  was  a  simpleton;  Brighella  and  Pulchinella,  varieties 
of  the  zanni  type;  the  seroetta,  the  sprightly  servant  maid, 
often  named  Columbine.  There  were  other  minor  parts,  and 
the  names  frequently  varied.  Every  troupe  had  a  pair  or  two 
of  young  lovers,  innamorati  and  innamorate.  These  were  not 
counted  among  the  masks.  They  appeared  with  uncovered 
faces,  and  spoke  good  Tuscan.  They  were  not  comic  parts. 
Their  diction  was  high-flown  and  euphuistic. 

The  part  which  improvisation  played  in  these  comedies 
has  been  somewhat  exaggerated.  In  the  first  place,  each  actor 
had  his  stock  part  which  he  never  abandoned.  The  clown  was 
always  a  clown,  the  doctor  always  a  doctor.  A  new  play 
did  not  demand  the  acquisition  of  a  wholly  different  role. 
Each  actor,  moreover,  committed  to  memory  a  large  number 
of  passages,  either  in  verse  or  in  prose,  fitted  to  meet  any 
situation  which  might  arise  in  any  play.  There  were  entrance 
speeches,  wooings,  soliloquies,  rebukes,  compliments,  conceits, 
bits  of  advice,  boastings,  etc.  Every  clown  was  provided 
with  a  large  number  of  lazzi.  A  lazzo  was  a  comic  incident  or 
succession  of  incidents  acted  in  pantomime  or  with  dialogue. 
It  differed  little  from  the  paso,  and  like  the  paso  was  inter- 
calated in  the  main  plot,  which  it  interrupted.  The  pro- 
duction of  a  new  play  was  "therefore  merely  the  piecing  to- 


INTRODUCTION  XI 

gether  of  odd  tags  of  memorized  lines  that  recurred  in  endless 
combinations  in  a  great  variety  of  plays,  just  as  the  cards 
of  a  deck  are  shuffled  and  dealt  into  new  combinations  with- 
out themselves  changing.  The  audience  of  the  time  was 
trained  not  to  expect  much  novelty  of  detail.  Perhaps  the 
constant  repetition  of  the  same  jokes  and  rhetorical  figures 
in  the  Spanish  comedia  may  be  ascribed  in  part  to  the  influence 
of  the  commedia  dell'arte.  No  play  was  produced  without  a 
careful  rehearsing  of  exits  and  entrances  and  the  action  de- 
manded by  the  scenario,  at  which  time  the  special  lazzi  to  be 
used  were  carefully  considered.  Extemporization  was  there- 
fore restricted  to  a  few  commonplace,  connecting  sentences. 

The  Entremes  de  repente.  —  We  know  from  allusions  in 
sixteenth  century  writers  that  Spain  also  had  its  improvised 
farce,  the  entremes  de  repente.  In  some  of  the  earlier  inter- 
ludes collected  by  Cotarelo  y  Mori  the  stage  directions  show 
that  the  actor  was  expected  to  supply  dialogue,  even  when 
most  of  the  speeches  were  furnished  by  the  author.  To  quote 
one  such  stage  direction:  "  Here  the  rustic  applies  to  him 
such  abusive  epithets  as  suit  him  best,  and  begs  permission  to 
sing  him  a  few  stanzas,  and  the  other  replies  to  him."  Im- 
provised comedy  never  scored  a  great  success  in  Spain;  but 
that  the  Italian  influence  upon  comedia  and  entremes  alike 
was  profound,  cannot  be  doubted. 

Entremes  and  Commedia  dell'arte.  —  In  comparing  the 
entremes  and  the  commedia  dell'arte  the  investigator  is  handi- 
capped. Only  a  comparatively  small  number  of  the  Spanish 
farces  in  existence  have  been  published;  and  the  number  of 
published  scenarii  and  lazzi  is  even  more  restricted.  And  when 
we  are  fortunate  enough  to  be  able  to  read  a  scenario,  what 
we  have  before  us  is  only  a  skeleton.  But  even  the  material 
available  has  never  been  studied  in  detail.  This  is  a  virgin 
field  still  awaiting  an  investigator.  Only  a  few  generalizations 
can  now  be  made. 

In  form  there  is  little  in  common  between  the  three-act 


Xll  INTRODUCTION 

commedia  dell'arte,  with  its  elaborate  plot,  and  the  brief, 
uncomplicated  entremes.  The  division  into  three  acts  doubt- 
less influenced  Cervantes  and  later  writers  of  comedias  who 
followed  Italian  models.  Italian  influence,  too,  helped  to 
make  the  Spanish  drama  one  of  intrigue  rather  than  of  char- 
acter. The  entremes  is  to  be  compared  not  to  a  complete 
Italian  play  but  to  a  single  lazzo,  or  better  still  to  the  inter- 
media or  intermezzo,  the  names  Italians  gave  to  the  developed 
comic  situation,  introduced  either  into  the  body  of  the  play 
or  produced  between  the  acts.  So  far  as  form  is  concerned, 
the  most  undeniable  evidence  of  Italian  influence  upon  the 
entremes  is  the  versification  employed  in  them  after  the  first 
third  of  the  seventeenth  century.  The  standard  meter  from 
this  time  on  is  the  hendecasyllable  for  which  is  substituted 
at  pleasure  a  heptasyllable.  These  lines  rime  in  couplets 
(sihas  pareadas),  with  an  occasional  blank  verse  interspersed. 
Now  this  is  precisely  the  metrical  scheme  of  most  of  the 
rimed,  memorized  passages  introduced  into  the  commedia 
dell'arte. 

There  is  much  similarity  between  some  of  the  Spanish 
masks,  if  we  may  so  term  them,  and  their  Italian  counterparts. 
Of  the  two  zanni  the  clever  one  suggests  the  gracioso  of  the 
co-media,  the  stupid  one  has  much  in  common  with  the  Lorenzos 
and  the  Periquillos  of  the  entremeses.  The  Vejete  is  very 
similar  to  Pantaloon.  The  braggart  soldier  is  the  same  type 
in  both  literatures.  The  "  lovers  "  have  their  counterparts; 
the  servetta  has  hers.  But  we  must  not  be  too  hasty  in  draw- 
ing conclusions.  The  commedia  dell'arte  is  a  popularization 
of  the  Plautine  comedy,  and  Plautus  was  known  to  the  early 
dramatists  of  Spain.  It  is  in  the  Latin  comedians  that  we 
are  to  seek  the  sources  of  the  braggart  soldier,  the  intriguing 
servant,  the  credulous  old  man,  and  other  parts.  Some  of 
these,  too,  are  too  universal  to  need  explanation.  Spain  had 
unquestionably  developed  a  large  number  of  comic  types 
before  the  dramatic  influence  of  Italy  was  felt.  These  were 


INTRODUCTION  Xlll 

retained,  although  Italian  influence  determined  certain  modi- 
fications in  them.  What  and  how  great  this  was  is  still  to  be 
studied.  Such  Italian  parts  as  depended  upon  dialect  for  their 
humor  could  not  be  transferred  to  another  stage.  We  shall 
soon  see  that  Spain  had  its  native,  dialect  types  to  sub- 
stitute for  them. 

Direct  Influence.  —  The  chief  borrowings  from  the  corn- 
media  ddVarte  were  in  the  matter  of  plot,  comic  situation, 
and  the  many  jokes  capable  of  translation  into  a  cognate 
language.  Spanish  writers  found  the  Comedy  of  Masks  a 
rich  mine,  and  they  exploited  it  to  the  full.  Here  are  two 
concrete  instances.  The  Entremes  de  un  viejo  ques  casado 
con  una  mujer  moza  (No.  14  in  Cotarelo's  collection)  contains 
the  same  situation  found  in  a  scenario  printed  by  Bartoli, 
Gli  Intrighi  d'Amore  owero  La  Finestra  Incantata.  In  each 
case,  a  credulous  husband  witnesses  through  a  window  his 
wife's  flirtations,  and  is  made  to  believe  that  the  fault  lies 
wholly  in  the  "  enchanted  "  window;  because,  the  moment 
he  enters  the  house,  the  lover  has  disappeared.  The  present 
editor  has  noted  the  "  cure  for  the  toothache  "  joke  in  several 
entremeses.  A  simpleton  demands  a  cure  for  his  toothache. 
He  is  told  to  put  an  apple  in  his  mouth,  and  then  to  stick  his 
head  into  a  hot  oven.  By  the  time  the  apple  is  baked  the 
toothache  will  have  disappeared.  Now  this  is  one  of  the  best 
known  of  the  Italian  lazzi.  Numerous  borrowings  of  a  similar 
kind  could  be  cited.  Italian  actors  drew  upon  novels  and 
folk-lore  for  much  of  their  material.  Some  of  these  sources 
were  open  to  Spaniards,  so  that  it  is  not  always  easy  to  trace 
a  plot  or  joke;  but  that  a  great  deal  came  directly  into  Spanish 
plays  from  the  Improvised  Comedy  cannot  be  doubted. 

Contact  with  Italian  actors  was  direct  and  continuous. 
Muzio's  company  appeared  in  Seville  about  1538.  The  great 
actor  Ganasa  visited  Spain  in  1570,  and  met  with  such  success 
that  he  returned  many  times  in  the  years  following.  Other 
Italian  companies  did  likewise.  Numerous  Spanish  writers, 


xiv  INTRODUCTION 

like  Cervantes,  had  visited  Italy  and  had  become  familiar  with 
Italian  comedians  in  their  native  land.  The  strolling  Italians 
too,  learned  much  from  their  residence  in  Spain.  Many  a 
later  commedia  dell'arte  plot  was  inspired  by  a  Spanish  play. 
The  influence  was  reciprocal. 

Few  sixteenth  century  entremeses  have  come  down  to  us, 
although  in  the  last  two  decades  of  that  century  they  began 
to  be  written  in  great  numbers.  Two  were  regularly  pro- 
duced between  the  acts  of  each  serious  play.  They  were 
mostly  in  prose,  although  some  writers,  like  Juan  de  Timoneda, 
Lope  de  Rueda's  friend  and  editor,  wrote  them  in  verse. 


///.  WPE  DE  RUED  A 

Lope  de  Rueda.  —  Lope  de  Rueda  is  the  first  entremesista 
whose  work  has  been  preserved  to  any  considerable  extent. 
He  was  born  in  Seville  in  or  about  the  year  1510.  Tradition 
says  that  he  was  a  gold-beater  by  trade,  but  early  in  life  he 
turned  actor  and  rose  to  be  manager  and  playwright.  He  was 
strongly  under  Italian  influence,  and,  as  there  is  no  record 
that  he  ever  set  foot  in  Italy,  there  is  plausibility  in  A.  L. 
Stiefel's  conjecture  that  he  may  have  learned  his  stagecraft 
from  Muzio's  Italian  troupe  which  gave  performances  in 
Seville  in  or  around  1538.* 

For  many  years,  until  his  death  in  1565,  Lope  was  a  strolling 
manager.  There  is  a  record  that  he  once  performed  before 
Philip  II,  but  in  the  main  his  audiences  were  democratic.  It 
is  his  chief  service  that  he  brought  the  drama  to  the  people  and 
created  that  demand  to  which  his  followers  so  lavishly  catered. 
Lope's  serious  plays,  his  Comedias  and  Colloquios  are  little 
more  than  translations  of  Italian,  models.  We  are  here  con- 
cerned solely  with  his  farces. 

*  Cf.  Stiefel,  Zeitschrijt  fur  romaniscke  Philologie,  XV,  320. 


INTRODUCTION  XV 

Lope's  pasos.  —  The  word  paso,  "  incident,"  fitly  describes 
the  action,  which  is  of  the  simplest.  A  husband  and  wife 
quarrel  over  the  price  to  be  asked  for  a  crop  of  olives,  though 
the  tree  has  just  been  planted.  Two  rogues  get  a  free  dinner 
by  bamboozling  a  stupid  servant  out  of  the  provisions  he  is 
carrying.  A  doctor's  servant  impersonates  his  master  and 
prescribes  to  various  patients.  The  pasos  preserved  number 
thirteen,  not  counting  the  doubtful  Farsa  del  sordo.  This  last 
is  in  verse,  but  all  the  authentic  pasos  are  in  prose,  lacking 
the  final  song  and  dance  of  the  later  entremes.  A.  L.  Stiefel 
believes  that  the  pasos  are  as  Italian  in  their  inspiration  as 
Lope's  other  work.  There  may  be  an  element  of  truth  in  this 
conjecture,  but  one  finds  it  hard  to  believe  that  anything  more 
than  the  comic  situations  were  taken  from  non-Spanish  sources. 
The  language  is  so  idiomatic  as  to  preclude  the  idea  of  mere 
translation,  and  many  of  the  types  could  have  developed 
nowhere  but  on  Spanish  soil. 

Lope's  Comic  Types.  —  With  Lope  de  Rueda  the  gallery 
of  comic  types,  the  beginnings  of  which  can  already  be  seen 
in  the  works  of  Juan  del  Encina  and  of  Diego  Sanchez  de 
Badajoz,  is  almost  complete.  Cervantes  and  his  followers 
invent  little  new  in  the  way  of  farce  personages;  and  most  of 
them  were  already  traditional  in  Spain  before  Lope's  time. 
Let  us  now  indicate  the  more  important  of  these  types  and 
their  characteristics.  Few  farces  lack  the  bobo,  or  simple. 
He  is  usually  a  servant,  and  in  most  cases  is  named  Lorenzo. 
He  is  an  easy  butt  of  ridicule,  arousing  mirth  through  his 
ignorance  and  stupidity.  He  is  the  opposite  of  the  gracioso, 
clown,  of  the  comedia,  who  is  nearly  always  intelligent.  Never- 
theless, the  bobo  often  turns  the  tables  on  his  tormentors, 
and  sometimes  the  simple  combines  mother  wit  with  extreme 
ignorance.  The  bobo  is  hopelessly  stupid;  the  simple  may  be 
intelligent  within  his  limited  sphere.  Another  butt  of  ridicule 
is  the  vejete,  or  old  man,  a  less  dignified  figure  than  the  barba 
of  the  comedia.  He  is  the  deceived  husband  of  a  giddy  young 


XVI  INTRODUCTION 

wife,  or  the  outwitted  father  of  a  headstrong  daughter.  He 
is  miserly,  suspicious,  and  credulous.  He  and  the  bobo  receive 
the  major  portion  of  the  beatings. 

Few  farces  lacked  the  barber,  merry,  talkative,  fond  of  danc- 
ing and  guitar-playing.  He  was  indispensable  to  the  success 
of  song  and  dance.  The  sacristdn,  or  sexton,  is  equally  im- 
portant. He  is  a  lady's  man  whose  wooing  is  seldom  without 
success.  He  has  a  propensity  to  drunkenness,  and,  when  not 
in  the  presence  of  the  educated,  interlards  his  lines  with  scraps 
of  bad  Latin.  This  dissolute  rogue  is  the  sole  representative 
of  the  clergy.  Actors  of  the  later  period  did  not  dare  intro- 
duce priests  and  monks  upon  the  comic  stage.  Such  darts 
of  satire  as  were  directed  against  the  church  had  to  fall  upon 
this  figure,  half  priest,  half  layman.  The  doctor  is  always 
pedantic,  unskilled,  wholly  without  heart  and  conscience,  a 
murderer  of  his  patients.  The  lawyer  has  none  of  the  shrewd- 
ness associated  with  the  legal  profession;  he  is  an  ignora- 
mus easy  to  deceive.  The  student  is  always  an  unscrupulous 
young  rogue,  slovenly  in  attire,  and  suffering  from  the  itch  and 
chronic  starvation.  The  Page,  too,  is  starving,  but  gluttonous 
when  he  gets  the  chance.  His  mischief  is  of  a  more  childish 
sort.  The  alguacil  was  cruel,  tyrannical,  and  venal.  It  de- 
lighted an  audience  to  see  the  representatives  of  the  law 
treated  with  a  lack  of  respect. 

There  were  other  types  who  raised  a  laugh  by  the  dialects 
they  spoke;  such  as  the  French  pedlar  whom  the  authors  in 
their  ignorance  frequently  made  to  speak  Italian.  The  negro 
and  the  negress  had  many  of  the  traits  which  we  associate  with 
the  race.  They  were  extravagant  in  ideas,  fond  of  big  words, 
and  spoke  an  amusing  jargon.  The  Moor  is  represented  as 
overfond  of  pork  and  wine,  the  Koran  to  the  contrary  notwith- 
standing. His  patois  is  rich  in  sibilants.  But  nobody  mur- 
dered the  king's  Castilian  to  quite  the  same  extent  as  did  the 
Biscayan.  He  shares  with  the  montanes  an  amusing  pride  of 
ancestry.  The  Galician  has  always  been  an  object  of  mockery 


INTRODUCTION  XV11 

in  Spain  for  his  thickheadedness  and  uncouth  demeanor. 
Gypsies  frequently  appear,  usually  to  display  their  characteristic 
dances.  Other  common  types  are  the  apothecary,  the  miser, 
the  astrologer,  never  taken  seriously,  the  arbitrista,  the  man 
fertile  in  expedients  to  promote  the  welfare  of  the  State,  poor 
country  hidalgos,  starving  victims  of  a  mistaken  pride,  rustic 
alcaldes,  ignorant  of  the  duties  of  their  office,  makers  of  Solo- 
monic decisions,  the  love-lorn  Portuguese,  and  others  of  lesser 
importance.  Many  an  entremes  had  a  pair  of  lovers,  essential 
to  the  feeble  plot,  but  hardly  to  be  classed  as  comic  parts. 
The  lively  maid  servant  also  plays  an  important  role. 

Paso  Septimo.  —  This  paso  is  the  seventh  included  in  the 
collection  of  Lope  de  Rueda's  plays  called  El  deleitoso,  Valencia, 
1567,  edited  and  published  by  Juan  Timoneda.  The  title  here 
given  is  correct,  though  the  farce  is  commonly  called  Las  aceitunas, 
a  name  invented  for  it  by  Leandro  Fernandez  de  Moratin,  who 
was  the  first  modern  scholar  to  make  the  little  play  widely 
known  by  including  it  in  his  Origenes  del  teatro  espanol,  post- 
humously published,  Madrid,  1830.  The  present  text  is  in  the 
main  that  of  Cotarelo  y  Mori.  In  one  instance  a  variant  read- 
ing, supported  by  Fuensanta  del  Valle  and  Moratin,  has  been 
adopted.  There  are  several  variations  from  Cotarelo's  punc- 
tuation. 

No  exact  source  for  this  farce  has  ever  been  indicated,  but  it 
appears  to  be  the  dramatization  of  a  folk-lore  theme  closely 
related  to  the  stories  comprised  in  the  "  Castles  in  Spain  "  cycle. 
The  most  famous  analogue  is  the  fable  of  the  milkmaid  and  her 
pail  of  milk.  The  oldest  known  form  of  this  story,  The  Monk 
and  his  Plans,  first  appears  in  the  Oriental  Kalilah.  In  Spanish 
literature  we  find  it  in  the  Calila  et  Digna.  It  was  later  retold 
by  Juan  Manuel,  Enxiemplo  VII,  De  lo  que  contescio  a  una 
muger  quel  dizian  donna  Truhana.  The  Portuguese,  Gil  Vicente, 
used  this  theme  in  his  Auto  da  Mofina  Mendes.  La  Fontaine 
has  given  the  subject  its  most  artistic  treatment.  To  the  same 
group  belong  Ihe  Story  of  the  Barber's  Fifth  Brother  in  the  Arabian 
Nights'  Entertainment  and  Lazy  Harry  (der  faule  Heinz),  No.  164 
in  Grimm's  Household  Tales.  Numerous  other  analogues  are 


XV111  INTRODUCTION 

instanced  by  the  following  authorities:  Chauvin,  Bibliographic 
des  outrages  arabes,  Liege,  1897,  II,  101,  and  Liege,  1901,  V,  162; 
Juan  Manuel,  El  libra  de  los  enxiemplos  del  Conde  Lucanor  el  de 
Patronio  (edited  by  Knust),  Leipzig,  1900,  pp.  316-8;  The  Exempla 
of  Jacques  de  Vitry  (edited  by  Crane),  London,  1890,  p.  155; 
Max  Miiller,  Chips  from  a  German  Workshop,  London,  1875, 
IV,  US- 

The  following  translations  are  useful:  The  Olives,  translated 
by  G.  H.  Lewis,  in  The  Spanish  Drama,  London,  1845;  The 
Seventh  Farce  of  Lope  de  Rueda,  translated  by  W.  H.  H.  Chambers, 
in  The  Drama,  Vol.  VI,  London,  1903;  in  German,  Die  Oliven, 
translated  by  Moriz  Rapp,  in  Spanisches  Theater,  Leipzig, 
n.d.  For  English  translations  of  Spanish  plays  in  general,  see 
E.  C.  Hills,  A  Catalogue  of  English  Translations  of  Spanish 
Plays,  in  Romanic  Review,  X,  July-Sept.,  1919,  and  reprinted, 
with  additions,  in  Hispania,  March,  1920. 


IV.  MIGUEL  DE  CERVANTES  SAAVEDRA 

Cervantes.  —  The  next  great  figure  in  this  genre,  after  Lope 
de  Rueda,  is  Cervantes  (1547-1616),  who  was  most  active  as 
a  dramatic  writer  between  the  years  1582  and  1587.  Whether 
any  of  the  twenty  or  thirty  plays  then  written,  and  which  were 
so  fortunate  as  to  be  acted  "  without  offering  of  cucumbers  or 
other  missile  substance,"  were  entremeses,  we  do  not  know. 
His  eight  authentic  farces,  published  in  Ocho  comedias  y  ocho 
entremeses  nuevos,  nunca  representados,  all  belong  to  his  later 
years.  Nearly  all  contain  allusions  showing  that  they  were 
written  in  the  early  seventeenth  century.  All  but  two  are 
mostly  in  prose.  El  rufian  viudo  and  La  election  de  los 
alcaldes  de  Daganzo  are  written  in  eleven  syllable  blank  verse. 
All  end  with  the  song  and  dance  which  had  become  general 
since  the  actor  Alonso  Martinez  invented  the  baile  cantado  at 
some  time  around  1 500.  This  innovation  appears  to  be  only  an 
extension  of  the  mllancico  ending  which  Encina  and  some  of 
the  older  dramatists  had  used. 


INTRODUCTION  xix 

Cervantes'  entremeses  owe  much  to  Lope  de  Rueda's 
pasos.  The  comic  types  are  the  same;  there  is  the  same  racy 
use  of  the  popular  language  by  both  writers.  But  Cervantes 
is  the  superior  in  humor  and  universality.  As  a  writer  of 
serious  plays  Cervantes  ranks  low.  As  a  writer  of  entremeses 
he  is  superior  to  all  his  predecessors  and  successors.  The 
restrictions  of  the  dramatic  form  embarrassed  a  writer  who 
loved  to  let  his  thoughts  flow  at  random,  and  who  wrote  with- 
out previous,  careful  planning.  If  he  lacked  the  dramatic 
sense,  he  had  at  the  same  time  one  of  the  dramatist's  most 
priceless  gifts,  the  art  of  making  his  characters  live,  of  causing 
them  to  converse  naturally  and  vivaciously.  In  the  most 
formless  of  dramatic  forms  he  excelled. 

Next  to  his  Don  Quijote  and  the  Novelas  Ejemplares,  the 
Entremeses  are  the  best  work  of  Cervantes.  Every  one  of 
these  is  good.  The  two  best  are  La  cueva  de  Salamanca, 
included  in  this  collection,  and  La  guarda  cuidadosa,  describing 
the  rival  suits  of  a  sacristan  and  a  soldier  for  the  favors  of  a 
fregona.  But  it  is  difficult  to  make  a  choice.  El  Vizcaino 
fingido  is  amusingly  true  to  human  nature.  El  retablo  de  las 
maravillas  tells  a  folk-lore  story  familiar  to  readers  of  Juan 
Manuel  and  Hans  Christian  Andersen.  The  most  thoughtful 
of  all  is  El  juez  de  los  divorcios,  in  which  one  is  tempted  to  see 
a  reflection  of  the  author's  own  marital  troubles,  cheerfully 
accepted  with  the  thought  that  "  the  worst  agreement  is  better 
than  the  best  divorce."  The  Rufidn  viudo  is  among  the  best 
for  its  convincing  realism.  La  election  de  los  alcaldes  'de 
Daganzo  pokes  fun  at  those  rustic  officials  with  whom  Cervantes 
had  had  so  many  unpleasant  dealings.  El  viejo  celoso  treats 
in  jesting  wise  the  same  theme  more  seriously  developed  in 
the  story  of  El  celoso  estremeno.  Menendez  y  Pelayo  thinks 
that  Cervantes'  entremeses  suggest  sketches  made  in  prepara- 
tion for  the  finished  pictures  of  the  Novelas  ejemplares.  This 
characterization  is  apt,  except  for  the  evident  fact  that  the 
pictures  preceded  the  sketches. 


XX  INTRODUCTION 

If  Cervantes'  entremeses  were  not  acted  during  his  lifetime, 
time  has  brought  its  revenge;  for  they  are  possibly  the  only 
farces  of  the  period  ever  acted  at  the  present  day,  and  no 
other  plays  of  the  sort  were  so  often  copied  by  subsequent 
entremesistas.  Meanwhile  farces  were  being  written  by  the 
hundreds  and  thousands.  Most  of  them  were  shorter  than 
Cervantes'  interludes,  and  as  the  century  wore  on,  those  in 
prose  became  fewer,  and  the  typical  meter  of  eleven  and 
seven  syllable  lines,  varied  with  the  frequent  use  of  the  native 
ballad  verse,  became  the  standard  farce  form. 

La  cueva  de  Salamanca.  —  Mediaeval  and  Renaissance  writers 
never  tired  of  telling  the  various  devices  by  which  flirtatious 
young  wives,  aided  by  their  lovers,  contrived  to  deceive  their 
doting  husbands.  It  is  the  stock  situation  of  the  French  fableaux 
and  the  Italian  novelle.  Many  of  these  tales  are  of  Oriental 
origin,  but  the  variations  invented  by  later  writers  are  without 
number.  Schack  and  Klein  have  pointed  out  certain  similarities 
between  Cervantes'  farce  and  Hans  Sachs'  Fastnachtsspiel,  Der 
jarendt  Schuler  im  Paradeiss,  in  which  a  student  deceives  a  simple 
country  couple  by  pretending  to  possess  magic  powers.  Giannini 
points  out  certain  similarities  with  the  second  novel  of  the 
seventh  day  in  Boccaccio's  Decamerone.  But  it  is  easy  and 
profitless  to  multiply  such  analogues.  Cervantes  has  taken 
one  of  the  most  hackneyed  of  themes  and  made  it  original  by 
combining  it  with  a  well  known  Spanish  legend. 

The  story  is  that  there  existed  near  Salamanca  a  cave  in 
which  sorcery  was  taught.  A  head  of  bronze,  placed  over  a 
chair,  imparted  "  superhuman  magic  in  a  human  voice."  Of 
every  seven  persons  who  visited  the  cave  for  instruction,  one 
never  returned.  The  earliest  literary  allusions  to  the  Cueva 
date  from  the  fifteenth  century.  Ruis  de  Alarc6n's  Cueva  de 
Salamanca  and  Rojas'  Lo  que  queria  ver  el  Marquis  de  Villena 
are  other  plays  treating  of  this  legend.  The  best  study  on  the 
subject  is  Waxman,  Chapters  on  Magic  in  Spanish  Literature, 
in  Revue  Hispanique,  XXXVIII,  356-366.  The  belief  in  the 
marvels  of  the  Cueva  de  Salamanca  was  so  persistent  among  the 
common  people  that  in  the  eighteenth  century  the  Padre  Feijoo 


INTRODUCTION  Xxi 

felt  called  upon  to  write  a  Discurso  sobre  las  Cuevas  de  Salamanca 
y  Toledo  to  explode  this  widespread  superstition.  Biblioteca  de 
autores  espanoles,  LVT,  374. 

At  least  eight  other  entremeses  were  written  in  imitation  of 
this.  The  most  notable  was  Calder6n's  Dragoncillo.  It  also 
furnished  libretti  for  comic  operas  in  Spain,  France,  and  Germany. 
For  full  information,  see  Armando  Cotarelo  y  Valledor,  El 
teatro  de  Cervantes,  Madrid,  1915,  Pt.  Ill,  ch.  ii. 

No  English  translation  has  ever  been  made.  Little  good  can 
be  said  of  the  French  translation  found  in  Royer,  Theatre  de 
Michel  Cervantes,  Paris,  1862.  There  are  two  good  German 
versions:  Schack,  Spanisches  Theater,  Leipzig,  1845,  and  Kurz, 
Spanisches  Theater,  Vol.  II,  Leipzig,  1868.  There  is  also  one 
good  Italian  translation:  Giannini,  M.  Cervantes,  GV  Intermezzi, 
Lanciano,  1915. 

The  text  here  published  is  that  of  Schevill-Bonilla  modernized 
as  to  spelling. 

Los  dos  habladores.  —  Besides  Cervantes'  eight  authentic 
farces,  others  have  been  attributed  to  him.  The  most  likely 
attribution  is  that  of  Los  dos  habladores.  It  was  first  printed  in 
the  Seventh  Part  of  the  Obras  de  Lope  de  Vega,  Madrid,  1617,  and 
attributed  to  that  author.  Lope,  however,  on  a  later  occasion 
expressly  denied  the  authorship  of  the  farces  included  in  that 
volume.  In  1646  it  was  reprinted,  under  the  name  of  Cervantes, 
in  a  miscellaneous  collection  edited  by  a  bookseller  of  Cadiz. 
Nobody  who  knows  how  careless  the  publishers  of  the  time  were 
in  assigning  authorship,  will  attach  much  weight  to  this  evidence; 
nor  is  the  style  alone  a  sufficient  criterion  to  enable  one  to  decide 
one  way  or  the  other.  One  can  only  say  that  the  playlet  .is 
worthy  of  Cervantes,  and  is  not  unlike  his  manner. 

This,  one  of  the  most  genial  of  Spanish  farces,  is  one  of  a  vast 
number  of  "  diamond  cut  diamond  "  plays,  the  underlying  idea 
of  which  is  that  the  proper  method  of  dealing  with  a  perverse 
woman  is  to  treat  her  to  a  liberal  dose  of  her  own  medicine.  In 
The  Taming  of  the  Shrew,  Shakespeare  provides  a  masterful 
husband  for  a  cantankerous  wife.  It  was  a  commonplace  in  the 
Spanish  drama  that  the  love  of  a  scornful  beauty  could  only  be 
gained  by  one  who  affected  equal  indifference.  A  Beatrice 


3001  INTRODUCTION 

required  a  Benedict.  Of  the  many  plays  which  treat  this  theme 
in  Spanish  literature,  Moreto's  El  desden  con  el  desdtn  is  the 
most  celebrated.  Naturally,  a  talkative  woman  could  only  be 
cured  of  her  vice  by  a  superior  talker. 

No  entremes  was  oftener  copied  than  this.  Quinones  de 
Benavente  imitated  it  in  his  Las  habladoras.  Ram6n  de  la  Cruz 
used  the  idea  in  two  sainetes:  El  hablador  and  El  padrino  y  el 
pretendiente.  Ventura  de  la  Vega  wrote:  Un  hablador  sempiterno. 
In  the  National  Library  of  Madrid  there  exists  in  manuscript  a 
play,  El  hablador,  by  Jos6  Vall6s,  a  seventeenth  century  author. 
For  other  imitations,  see  Cotarelo  y  Valledor,  El  teatro  de  Cer- 
vantes, Pt.  IV,  ch.  iv. 

An  excellent  English  translation  has  been  made  by  Edith 
Fahnestock  and  Florence  Donnell  White,  The  Talkers,  in  The 
Colonnade,  XII,  July,  1916.  Henri  de  Curzon  has  given  a  lively 
French  rendering,  Les  deux  bavards,  Toulouse,  1900.  This 
supersedes  Royer's  previous  poor  translation.  Hermann  Kurz 
has  achieved  a  very  good  German  translation:  Die  beiden  Plapper- 
zungen,  Spanisches  Theater,  Vol.  I,  Leipzig,  n.d. 

The  text  here  given  is  based  upon  that  of  Bonilla  y  San  Martin, 
Entremeses  de  Miguel  de  Cervantes  Saavedra,  Madrid,  1916. 
Bonilla  follows  the  manuscript  of  the  Biblioteca  Colombina, 
whose  readings  are  more  authentic  than  those  of  the  first  edition, 
Septima  parte  de  las  obras  de  Lope  de  Vega  Carpio,  Madrid,  1617. 
Bonilla's  reprint  is  sparingly  annotated.  This  entremes  is  not 
reprinted  in  the  Schevill-Bonilla  edition.  The  best  reprint  of  the 
1617  text  is  that  of  Cotarelo  y  Mori,  Coleccidn  de  entremeses. 

El  entremes  de  los  refranes  has  also  been  fathered  upon 
Cervantes,  but  with  no  good  reason.  In  fact  the  evidence 
points  the  other  way.  Cervantes,  to  be  sure,  had  a  rich  stock 
of  proverbs,  but  his  use  of  refranes  was  entirely  different.  He 
would  distort  them,  twist  them  inside  out,  and  introduce  them 
in  hit  or  miss  fashion  without  the  slightest  application.  In  the 
Entremes  de  los  refranes,  on  the  contrary,  each  proverb  is  pat 
and  to  the  point.  This  farce  may  stand  as  a  specimen  of  a  special 
kind  of  entremes  where  the  interest  depended  not  upon  the  char- 
acters but  upon  some  triumph  of  ingenuity.  To  make  a  set  of 
characters  talk  almost  exclusively  in  proverbs  was  a  tour  de 


INTRODUCTION  XX111 

force.  In  the  Entremts  de  los  romances  the  dialogue  is  a  piecing 
together  of  ballad  fragments.  El  entremes  de  los  apodos  is  a  vast 
collection  of  abusive  epithets.  El  entremes  de  las  civilidades  is 
a  collection  of  hackneyed  idioms.  There  were  others  whose 
lines  were  nothing  more  than  a  stringing  together  of  the  titles 
of  favorite  plays.  Such  freakish  efforts  are  curious  rather  than 
important. 

This  farce  was  first  printed  from  a  manuscript  hi  the  Biblioteca 
Colombina  by  its  discoverer,  Jose  Maria  Ascensio,  who  pub- 
lished it  in  1870,  confidently  assigning  it  to  Cervantes.  In  spite 
of  any  sufficient  evidence  in  support  of  this  claim,  Adolfo  de 
Castro  upheld  the  same  view  when  he  reprinted  the  work  in  his 
Varias  obras  ineditas  de  Cervantes,  Madrid,  1874.  Sbarbi,  too, 
published  it  in  his  Refranero  general,  Vol.  VII.  Subsequent 
critics  have  been  more  cautious.  The  anonymous  author  uses 
his  proverbs  very  differently  from  the  way  Cervantes  used  his. 
The  evidence  is  against  rather  than  for  Cervantes  as  an  author. 

The  only  translation  of  the  piece  is  one  into  Catalan:  Cayetano 
Vidal  de  Valenciano,  El  entremes  de  refranes  £es  de  Cervantes? 
Ensayo  de  su  traduccldn.  Estudio  critico-literario,  Barcelona, 
1883.  This  author  strove  to  prove  that  Quevedo  wrote  the 
piece,  and  Quevedo  certainly  achieved  something  very  similar 
in  his  Cuento  de  cuentos.  Others  have  suggested  Quinones  de 
Benavente.  To  be  frank,  one  guess  is  as  good  as  another. 

Whoever  the  unknown  author  was,  he  was  a  man  of  ingenuity 
and  cleverness.  Despite  the  richness  of  the  Spanish  refranero, 
it  was  no  easy  task  to  write  a  dialogue  wholly  in  proverbs,  save 
for  a  few  linking  phrases.  Each  proverb  is  pat  and  furthers  the 
thought.  The  whole  device  is  artificial,  but  less  so  than  might 
be  supposed.  The  Spaniard  tends  so  naturally  to  express  his 
thoughts  in  proverb  form  that  with  only  a  slight  degree  of  ex- 
aggeration we  may  imagine  a  whole  conversation  so  conducted. 
Plot  and  characters  have,  however,  been  sacrificed.  The  whole 
interest  in  this  farce  lies  in  the  proverbs  themselves. 

No  other  language  is  so  rich  as  Spanish  in  its  proverbs  and 
proverbial  expressions.  We  find  these  in  the  earliest  literary 
monuments,  the  Poem  of  the  Cid,  Juan  Ruiz's  Libra  de  buen  amor, 
and  the  Corbacho  of  the  Archpriest  of  Talavera.  In  the  Renais- 


XXIV  INTRODUCTION 

sance  period  they  are  abundant  in  such  works  as  Celestina 
and  Don  Quijote.  Even  to-day  most  Spanish  authors  make 
liberal  use  of  them.  The  first  formal  collection  dates  from 
the  early  fifteenth  century,  Refranes  que  dizen  las  viejas  tras  el 
fuego,  attributed  to  the  Marqu6s  de  Santillana;  see  Revue  His- 
panique,  XXV.  The  best  dictionary  of  proverbs  is  Gonzalo 
Correas,  Vocabulario  de  refranes,  Madrid,  1906.  This  monu- 
mental work  was  written  about  1626  and  was  only  recently 
printed.  It  contains  many  thousands  of  proverbs,  and  is  a 
mine  of  information,  but  should  be  reclassified  and  printed  in  a 
form  less  difficult  to  use.  Much  information  is  also  to  be  found 
in  Sbarbi's  bulky  but  unscholarly  Refranero  general,  10  vols., 
Madrid,  1874-1878. 

The  origins  of  the  proverbs  are  most  diverse.  Some  refranes 
are  the  outgrowth  of  folk  tales.  Sometimes  the  stories  on  which 
they  are  based  have  been  preserved,  sometimes  they  are  lost. 
Other  proverbs  are  aphorisms  of  Classic  or  Oriental  origin. 
Others  embody  popular  superstitions.  Still  others  are  snatches 
from  ballads  or  popular  songs.  Some  originated  in  historic 
happenings  or  events  of  local  significance.  Nearly  all  give 
evidence  of  the  wit,  common  sense,  and  native  sagacity  of 
the  peasant  class.  Cervantes  defines  them  as  "  brief  maxims 
drawn  from  long  and  intelligent  experience."  And  he  makes 
Don  Quijote  say:  "  It  seems  to  me,  Sancho,  that  there  is  no 
proverb  which  is  not  true." 

Cotarelo's  reprinting  of  the  farce  in  his  Coleccidn  de  entremeses 
is  based  upon  De  Castro's  text.  We,  too,  follow  De  Castro, 
accepting  a  few  of  Cotarelo's  corrections. 


V.  LUIS  QUI NONES  DE  BENAVENTE 

Benavente.  —  Next  to  Cervantes,  the  greatest  name  in 
the  history  of  the  entremes  is  that  of  Luis  Quinones  de  Be- 
navente (i58g?-i65i).  We  know  little  about  Benavente's 
life.  He  was  a  native  of  Toledo,  a  man  of  kindly  disposition 
who  never  engaged  in  the  acrid  literary  controversies  of  the 
time.  Tirso  refers  to  him  as  one  "  who  has  never  spoken  ill 


INTRODUCTION  XXV 

of  poet."  Hence  all  dramatists  of  the  time  sing  his  praises; 
and  well  they  might,  for  a  Benavente  farce  between  the  acts 
of  a  mediocre  play  often  saved  the  latter  from  disaster.  Ac- 
cording to  contemporary  accounts,  he  never  wrote  a  comedia; 
but  his  activity  as  a  writer  of  entremeses  and  bailes  was  pro- 
digious. He  began  writing  farces  for  the  stage  about  1609. 
Tirso,  in  his  Tanto  es  lo  de  mas  como  lo  de  menos,  supposedly 
written  in  1620,  tells  us  that  by  that  time  Benavente  had 
written  300  entremeses.  Cotarelo  estimates  that  his  total 
output  of  farces  was  about  900.  Besides  these  he  wrote  nu- 
merous bailes.  What  Lope  de  Vega  did  for  the  comedia,  Bena- 
vente did  for  the  entremes.  He  gave  it  its  definitive  form. 
Like  most  of  the  writers  for  the  stage  of  his  time,  he  cared 
little  for  the  children  of  his  fancy.  We  are  indebted  to  the 
good  offices  of  a  friend  for  the  preservation  of  36  farces,  pub- 
lished under  the  title  of  Jocoseria  in  1645.  Others  have  sur- 
vived in  manuscript  form,  or  were  published,  often  attributed 
to  another,  in  miscellaneous  collections. 

Benavente's  Innovations.  —  Taking  the  stock  characters 
of  the  Spanish  comic  repertoire,  he  makes  them  speak  and 
move  upon  the  boards  with  a  grace  hitherto  unknown.  He  had 
a  genius  for  comic  situation  and  dialogue.  In  addition,  he  is 
noted  for  his  fertility  of  invention  though,  to  be  sure,  some  of 
his  plays  are  the  reworking  of  old  material.  Nobody  was  his 
equal  in  supplying  the  verse  of  bailes,  that  slightest  of  dramatic 
forms,  the  dramatized  dance.  He  invented  new  forms  of  the 
entremes,  such  as  the  entremes  cantado,  a  miniature  comic 
opera,  the  forerunner  of  the  modern  zarzuela.  He  is  credited 
with  many  another  innovation  besides. 

Cervantes  and  Benavente.  —  Benavente  was  the  king  of 
Spanish  farce  comedy  for  over  30  years.  No  other  was  so 
successful  in  tickling  the  popular  fancy.  If  he  knew  no  serious 
rival  during  his  lifetime,  the  same  may  be  said  with  reference 
to  his  predecessors  and  successors,  with  the  single  exception 
of  Cervantes.  And  yet  Spanish  critics  have  probably  over- 


XXVI  INTRODUCTION 

estimated  his  literary  worth.  We  may  freely  admit  that 
Benavente  had  wit,  grace,  charm,  lightness  of  touch,  delicacy 
of  fancy,  native  refinement,  dramatic  sense,  skill  in  the  use  of 
dialogue;  but  he  lacked  universality.  For  this  alone  he  ranks 
second  to  Cervantes  as  an  entremesista.  Cervantes  is  uni- 
versal in  his  appeal  when  writing  farces,  as  when  writing 
novels,  because  the  source  of  his  comedy  is  human  nature. 
While  distinctly  a  Spaniard  of  his  day  and  age,  Cervantes' 
understanding  of  human  nature  makes  him,  like  Moliere,  a 
writer  for  all  peoples.  Benavente's  humor  depends  too  much 
upon  allusions  to  events  of  the  day,  to  customs  peculiar  to  the 
passing  moment.  The  point  of  many  of  his  jokes  escapes  us. 
He  is  local  and  temporary  in  his  appeal.  The  qualities  which 
endeared  him  to  his  generation  alienate  him  from  us.  The 
words  used  by  Fitzmaurice-Kelly  in  making  a  similar  com- 
parison between  Cervantes  and  Lope  de  Vega  apply  equally 
well  in  this  case.* 

El  Doctor  y  el  enfermo.  —  This  farce  will  give  a  good  idea  of 
the  way  doctors  were  satirized  during  the  seventeenth  century. 
The  plot  is  a  commonplace  one  and  was  repeated  in  many  sub- 
sequent entremeses.  Very  similar  are  Moreto's  La  burla  de 
Pantoja,  the  anonymous  El  doctor  Soleta  (published  1691),  and 
that  side-splitting  farce  of  Jos6  Julian  de  Castro,  El  informe  sin 
forma.  The  plot  of  this  last  is  almost  identical,  although  it  is 
a  lawyer  instead  of  a  doctor  who  is  wheedled  out  of  his  daughter. 
The  present  text  is  based  upon  that  of  Cotarelo  y  Mori,  Coleccidn 
de  entremeses.  A  few  obvious  errors  have  been  corrected. 


VI.  OTHER  ENTREMESISTAS 

Nearly  all   the  great  Spanish  dramatists  of  the  Golden 

Age  attempted   the  entremts.     Curiously,   we  have  no  single 

farce  of  undoubted  authenticity  from  the  pen  of  Lope  de  Vega. 

Tirso  has  given  us  only  a  few,  and  most  of  those  attributed 

*  Fitzmaurice-Kelly,  Litterature  Espagnole,  Paris,  1913,  p.  316. 


INTRODUCTION  XXV11 

to  him  are  the  work  of  other  authors.  Calderon  wrote  several 
excellent  ones.  Quevedo,  Luis  Velez  de  Guevara,  Cancer, 
Matos  Fragoso  tried  their  hand  at  it.  Moreto  was  one  of  the 
most  successful  of  the  entremesistas.  His  farces  still  await  a 
collector.  In  gathering  entremeses  for  this  book  the  editor 
has  been  surprised  to  see  how  many  of  the  best  are  anonymous. 
Now  and  then  some  obscure  writer  surpassed  the  farces  of 
more  distinguished  authors. 

Entr ernes  del  espejo  y  burla  de  Pablillos  (Anonymous).  — 
This  entremes  is  composed  of  two  distinct  episodes  which  recur 
separately  in  many  different  farces.  Cotarelo  traces  the  second 
episode  back  to  a  sixteenth  century  entremes,  El  capeador.  He 
also  indicates  points  of  similarity  in  another  play  of  the  same 
century,  Los  ladrones.  The  mirror  episode  was  used  by  Quinones 
de  Benavente  in  El  boiicario.  This  last  farce  is  clearly  subse- 
quent in  point  of  time  to  the  one  here  printed,  which,  lacking  as 
it  does  a  final  letra,  must  be  very  old.  I  have  also  found  the 
mirror  device  in  another  old  farce,  El  entremes  del  espejo  y  de  la 
•oisita  de  la  cdrcel.  La  Barrera  lists  two  other  farces,  El  espejo 
and  Los  espejos  with  whose  content  the  editor  is  unfamiliar. 

Our  play  was  first  printed  in  the  Arcadia  de  entremeses,  Madrid, 
1723.  The  present  text  is  based  upon  that  of  Vicente  Garcia  de  la 
Huerta,  Theatro  Hespanol,  Madrid,  1785.  We  have  collated 
this  carefully  with  two  other  suelta  editions  found  in  the  Ticknor 
Collection:  Madrid,  1812,  For  la  viuda  de  Ibarra,  and  another 
without  indication  of  place,  year,  or  printer.  Garcia  de  la 
Huerta's  text  is  on  the  whole  very  accurate. 

This  farce  has  been  translated  by  Rouanet,  Intermedes  es- 
pagnols  du  XV IP  siecle,  Paris,  1897. 

Juan  Rana  comilon  (Anonymous).  —  This  farce  is  one  of  the 
infinite  variations  of  the  "  deceived  husband  "  theme.  The  plot 
moves  with  such  swiftness  and  comic  force  that  one  almost  for- 
gets the  impossibility  of  its  central  situation.  An  admirable 
French  translation  of  it  may  be  found  in  Leo  Rouanet,  Inter- 
medes espagnols  du  XV IP  siecle,  Paris,  1897. 

This  was  one  of  those  plays  written  especially  for  Juan  Rana, 
Johnny  Frog,  the  most  famous  of  Spanish  clowns.  Juan  Rana 


XXV111  INTRODUCTION 

was  the  stage  name  of  a  certain  Cosme  P6rez,  born  in  Madrid 
toward  the  close  of  the  sixteenth  century,  and  dying  in  1672. 
He  was  already  a  famous  gracioso  in  1617,  and  continued  to  act 
comic  r61es  until  over  eighty.  We  are  told  that  his  mere  appear- 
ance on  the  stage  sent  an  audience  into  convulsions  of  laughter 
before  he  spoke  a  word.  Cosme  Perez  was  a  man  of  property 
and  reputed  to  be  an  excellent  citizen.  A  few  years  before  his 
death,  1668,  the  aged  actor  was  recalled  from  his  retirement  to 
play  in  the  palace  gardens  before  Charles  II  in  a  specially  pre- 
pared entrem.es,  El  triunfo  de  Juan  Rana.  Juan  Rana  was  king 
of  the  clowns  for  over  50  years.  The  origin  of  his  stage  name  is 
not  wholly  clear.  He  made  it  as  famous  a  name  as  that  of 
Harlequin  or  Brighella.  He  was  a  real  Spanish  mask.  For 
the  biography  of  Cosme  P6rez,  see  Cotarelo  y  Mori,  Coleccion  de 
entremeses,  pp.  clvii-clxiii. 

This  play  was  first  printed  in  the  Arcadia  de  entremeses, 
Pamplona,  1700,  and  was  reprinted  in  a  similar  collection  with 
identical  title,  Madrid,  1723.  These  early  collections  were  as 
a  rule  nothing  more  than  villainously  printed  broadsides,  sueltas, 
bound  together.  We  have  based  our  text  on  a  very  unreliable 
suelta,  published  in  Sevilla,  without  date,  by  Joseph  Padrino, 
and  now  in  the  Ticknor  Collection,  Boston.  Rouanet's  original 
seems  to  have  had  the  same  faults.  The  National  Library, 
Madrid,  possesses  an  eighteenth  century  manuscript  of  this 
play;  see  Paz  y  Melia,  Catdlogo,  no.  1674. 

Entr ernes  de  los  bunuelos  (Anonymous).  — This  farce  seems 
to  hark  back  to  Lope  de  Rueda's  Paso  quinto  of  El  deleitoso. 
La  Barrera  invented  for  it  the  title,  La  tierra  de  Jauja.  It  relates 
how  two  sharpers  obtained  a  free  dinner  at  the  expense  of  a 
bobo.  Quinones  de  Benavente's  Talego-nino  likewise  comes 
from  Lope's  paso.  Our  play,  in  turn,  was  rewritten  under  the 
title  La  burla  (or  baile)  de  los  bunuelos.  It  has  been  translated 
by  Rouanet  in  his  Intermedes  espagnols.  The  National  Library 
of  Madrid  possesses  two  eighteenth  century  manuscripts  of  Los 
bunuelos,  both  differing  slightly  from  the  text  here  given,  to 
judge  by  the  first  and  last  lines.  See  Paz  y  Melia,  Catdlogo,  no. 
421.  It  was  first  printed  in  the  Arcadia  de  entremeses,  Pam- 
plona, 1700.  The  editor  has  based  the  present  text  on  a  suelta, 


INTRODUCTION  XXIX 

lacking  all  indication  of  place,  date,  and  printer,  possessed  by 
the  Ticknor  Collection.  This  text  is  far  more  reliable  than 
was  the  case  with  that  of  Juan  Rana  comilon. 

El  hambriento  (Anonymous).  —  This  is  a  variant  of  the 
celebrated  "  Barmecide  Feast "  story,  as  told  in  The  Story 
of  the  Barber's  Sixth  Brother  of  the  Arabian  Nights'  Entertain- 
ment. The  barber's  brother,  a  beggar,  enters  one  day  the 
palace  of  a  prince.  The  latter  receives  him  with  every  sign  of 
hospitality,  and  invites  him  to  sit  down  at  table.  Servants 
bring  a  succession  of  empty  dishes  and  glasses,  and  the  prince 
praises  in  turn  each  of  the  imaginary  viands.  The  beggar, 
seeing  he  is  being  made  the  victim  of  a  practical  joke,  so  enters 
into  the  spirit  of  the  trick  that  he  unites  in  his  host's  praises 
of  the  imaginary  feast.  Finally,  pretending  to  be  intoxicated, 
he  strikes  the  prince  in  the  face.  The  latter,  instead  of  being 
offended,  is  pleased  by  this  evidence  of  wit,  and  lavishes  hos- 
pitality upon  the  beggar  for  a  period  of  twenty  years.  Varia- 
tions of  this  theme,  many  like  the  present  one  only  remotely 
similar,  are  frequent  among  the  entremeses.  Among  these  may 
be  mentioned  Quinones  de  Benavente's  El  convidado,  Calder6n's 
like  named  play,  and  Luis  V61ez  de  Guevara's  La  sarna  de  los 
banquetes.  Moreto's  El  hambriento  is  a  wholly  distinct  play. 
Villaviciosa  also  has  a  play  with  the  same  title.  See  Cotarelo 
y  Mori,  Coleccion  de  entremeses,  p.  cxlvi,  for  a  list  of  starving- 
student  plays. 

The  text  is  based  upon  that  of  Vicente  de  la  Huerta.  The 
present  editor  has  collated  with  it  a  suelta  edition,  Madrid,  1812, 
For  la  viuda  de  Ibarra,  found  in  the  Ticknor  Collection. 

The  Sainete.  —  The  eighteenth  century  was  a  period  of 
degeneration  for  every  form  of  Spanish  literature.  The 
entremes,  like  more  ambitious  genres,  underwent  decay.  It 
continued  to  be  written  after  the  old  pattern,  and  was  dear 
to  the  populace,  though  despised  by  critics  under  French 
influence.  As  time  went  on  entremeses  became  so  obscene 
as  to  create  scandal.  The  Council  of  Castile  suppressed 
them  in  1780.  But  in  dying  the  entremes  gave  birth  to  a  new 
form,  the  sainete. 


XXX  INTRODUCTION 

The  word  sainete  originally  meant  "  titbit."  Theatrical 
titbits  were  of  many  kinds.  During  the  Renaissance  period 
the  term  is  loosely  applied  to  any  sort  of  theatrical  diversion, 
and  was  often  exactly  synonymous  with  baile  or  entremes. 
Later,  sainete  was  the  designation  of  the  entremes  produced 
between  the  second  and  third  acts.  The  word  acquired  its 
specialized  meaning  toward  the  end  of  the  eighteenth  century. 
It  may  now  be  denned  as  follows:  a  comic,  one  act  theatrical 
piece,  longer  than  the  entremes,  introducing  more  characters, 
and  with  a  somewhat  more  ambitious  plot,  portraying  real- 
istically various  social  types,  and  satirizing  human  vices  and 
foibles.  It  is  commonly  acted  after  a  longer  play.  The  chief 
exponent  of  this  genre  is  Ramon  de  la  Cruz  y  Cano. 


VII.   RAMdN  DE  LA  CRUZ    Y  CANO 

Ramon  de  la  Cruz  (1731-1794)  was  an  aristocrat  with  demo- 
cratic leanings.  He  began  his  literary  career  with  a  conscien- 
tious attempt  to  write  tragedies  according  to  the  French  formula. 
They  were  as  insipid  as  most  plays  of  the  sort  written  in  Spain. 
He  sought  relief  by  translating  Hamlet  into  Castilian,  1772, 
thus  giving  Spaniards  their  first  opportunity  to  make  ac- 
quaintance with  Shakespeare.  These  early  exercises  taught 
him  his  limitations.  He  learned  that  he  could  succeed  as  a 
dramatist  solely  by  departing  from  current  literary  dogma, 
by  treating  Spanish  subjects  for  the  amusement  of  Spaniards, 
by  adapting  old  forms  to  present  conditions,  by  uniting  realism 
with  humor  after  the  fashion  of  his  race.  He  chose  as  his 
form  of  expression  the  sainete. 

Ramon  de  la  Cruz's  Critical  and  Dramatic  System.  —  In  his 
prologue  in  reply  to  a  hostile  critic,  the  Italian,  Signorelli, 
Ramon  de  la  Cruz  expounds  his  critical  system  with  acuteness.* 

*  Ramon  de  la  Cruz,  Coleccion  de  sainetes  (ed.  by  Agustin    Duran), 
Madrid,  1843,  xxxi-xlvi. 


INTRODUCTION  XXXI 

Like  Lope  de  Vega  he  writes  for  the  vulgo;  but  he  does  not 
hold  with  Lope  that  the  masses  are  wrong.  On  the  contrary, 
he  trusts  the  instinctive  judgment  of  the  people  rather  than  the 
pronouncements  of  the  critical  defenders  of  modern  pseudo- 
classicism.  He  appeals  constantly  from  these  to  the  ancient 
writers  whom  they  had.  as  he  thought,  misinterpreted.  He 
prefers  to  seek  his  classicism  at  the  fountain-head.  He  holds 
with  Montaigne  that  humanity  is  prone  to  frame  for  every- 
thing laws  which  it  is  incapable  of  observing.  That,  he  says, 
is  what  French  and  Italian  critics  have  done.  The  ancients 
dared  to  copy  nature,  to  observe  and  describe.  If  the  old 
entremeses,  he  asks,  paint  exactly  the  civil  life  of  the  Spaniards, 
and  rebuke  vice  and  triumphant  folly,  was  not  this  the  aim  of 
Menander,  Plautus,  Terence,  and  all  great  comedians  ancient 
and  modern?  He  has  no  doubt  regarding  the  truthfulness 
of  his  own  dramatic  portraits.  He  asks  proudly:  "  In  a  word, 
all  those  of  you  who  have  seen  my  sainetes  reduced  to  the 
short  space  of  twenty-five  minutes  of  acting  .  .  .  say  whether 
or  no  they  are  copies  of  what  your  eyes  see  and  your  ears 
hear  .  .  .  and  whether  my  pictures  do  not  represent  the 
history  of  our  century."  He  appreciated,  what  subsequent 
critics  have  never  ceased  to  proclaim,  that  he,  Ramon  de  la 
Cruz,  is  the  best  historian  of  Spanish  culture  as  it  existed 
toward  the  end  of  the  eighteenth  century.  He  boldly  defends 
his  realism  in  putting  common,  ungrammatical,  and  sometimes 
low  expressions  into  the  mouths  of  his  personages.  "  To  copy 
vulgar  actions  and  turn  them  into  ridicule,  the  poet  must  think 
like  the  sages,  and  talk  like  the  common  people."  This 
strikes  the  keynote  of  the  dramatic  system  of  Ramon  de  la 
Cruz.  Observe  human  nature  and  manners  closely,  transfer 
real  life  to  the  stage  so  that  its  realism  will  be  convincing,  but 
let  the  whole  be  informed  with  the  spirit  of  philosophy.  As  a 
critic,  Ramon  de  la  Cruz  is  original  for  his  time,  modern  in 
his  point  of  view,  and  fundamentally  sound.  As  a  dramatist 
he  deserves  a  niche  adjacent  to  that  of  Goldoni. 


XXX11  INTRODUCTION 

Ramon  de  la  Cruz's  Gallery  of  Types.  —  Ramon  de  la  Cruz's 
portrait  gallery  is  far  richer  than  those  of  the  earlier  enlreme- 
sistas.  His  characters  are  no  longer  the  conventionalized  types, 
but  photographic  in  their  truthfulness  to  nature;  photographic, 
not  stereotyped.  All  social  classes,  all  walks  of  life  are  de- 
picted. The  author  reveals  to  us  the  frivolous  lertulias  of  his 
own  aristocratic  circle;  snuff -taking  gentlemen  with  rapier 
and  wig,  wearing  the  knee  breeches  of  the  period;  young  fops 
dancing  attendance  upon  their  beribboned  and  beflounced 
sweethearts,  vying  with  the  inevitable  abate  and  the  ever- 
present  French  perruquier  for  a  moment  of  the  fair  one's  time. 
We  see  a  futile  society  seeking  vainly  to  conceal  its  ignorance 
beneath  a  veneer  of  French  culture. 

Like  other  observers  of  his  time,  Ramon  de  la  Cruz  found  the 
nation's  real  strength  in  the  primitive  virtues  of  the  lower 
classes.  He  seems  to  have  had  most  affection  for  his  lowly 
characters.  But  he  does  not  flatter  demos.  His  manolos 
and  manolas  are  only  a  degree  less  brutal  as  he  depicts  them 
than  they  were  in  real  life.  He  chooses  by  preference  for  the 
scene  of  a  sainele  some  teeming  street  in  the  Lavapies  or  Mara- 
villas  district,  the  courtyard  of  some  overcrowded  tenement,  a 
public  promenade,  the  site  of  some  fair  along  the  banks  of 
the  Manzanares.  He  crowds  the  boards  with  merchants, 
artisans,  beggars,  charlatans,  peasants  in  from  the  country, 
their  wives  and  sweethearts.  All  these  wrangle,  make  love, 
exchange  repartees,  converse  in  dialect,  slang,  and  bad  gram- 
mar. There  is  much  bustle  and  animation;  for  Don  Ramon 
knew  how  to  handle  a  crowd.  Out  of  the  hurlyburly  emerges 
some  slender  plot,  seldom  without  its  thesis  or  attack  upon 
some  abuse  or  folly.  Now  that  the  types  described  have  dis- 
appeared forever,  we  still  feel  the  fidelity  of  these  Goyaesque 
portraits. 

Las  tertuliasde  Madrid  was  first  produced  in  Madrid  in  1770. 
It  was  one  of  the  most  popular  and  frequently  acted  of  the 
author's  works.  It  exposes  the  hollowness  and  insincerity  of 


INTRODUCTION  XXX111 

high  society,  and  preaches  the  simple  moral  that  "  A  friend  in 
need  is  a  friend  indeed."  In  comparing  this  sainete  with  the 
earlier  entremeses  we  feel  at  once  that  we  are  moving  in  a  more 
modern  atmosphere.  The  hearty  robustness  of  the  old  farces 
is  replaced  by  a  subtler  humor,  greater  refinement,  and  lightness  of 
touch.  The  situation  portrayed  is  scarcely  probable;  neither 
is  the  character  of  Dona  Ines  well  handled.  She  is  rendered  too 
odious  in  the  early  portion  of  the  play  ever  to  recover  a  place  in 
the  reader's  esteem.  The  sainetes  dealing  with  the  popular 
types  of  Madrid  are  better  specimens  of  Ramon  de  la  Cruz's 
manner;  but  difficulties  of  language  make  them  less  available 
for  text-book  purposes. 

The  present  text  is  that  of  Agustin  Duran,  Coleccion  de  sainetes 
tanto  impresos  como  ineditos  de  D.  Ramon  de  la  Cruz,  Madrid, 
1843- 

The  Zarzuela.  —  Another  service  of  Ramon  de  la  Cruz  was 
the  popularization  of  the  zarzttela,  the  form  which,  as  we  have 
seen,  evolved  out  of  Benavente's  entremes  cantado.  In  the 
course  of  the  eighteenth  century  the  zarzuela  had  become  more 
and  more  the  exclusive  possession  of  royalty  and  the  aristocracy, 
its  new  name  deriving  from  the  Zarzuela  Palace.  The  playlet  so 
designated  is  a  happy  combination  of  dialogue,  song,  and 
dance.  The  zarzuela  continues  to-day  the  most  popular  and 
distinctive  form  the  Spaniards  have.  This  is  not  the  place  to 
trace  the  nineteenth  century  development  of  the  g&nero  chko. 
The  popularity  of  the  short  play  has  been  so  great  as  to  menace 
the  very  existence  of  the  longer  ones,  a  regrettable  circum- 
stance, in  spite  of  the  literary  excellence  of  many  of  these 
shorter  productions.  Originally  subordinate  to  the  three-act 
play  and  seldom  acted  apart  from  a  longer  production,  to-day 
it  is  the  short  play  that  holds  the  stage.  Many  Spanish 
theaters  produce  only  short  pieces.  The  evening's  enter- 
tainment is  divided  into  "  sections  "  of  one  hour  each,  each 
section  devoted  to  a  different  playlet.  This  arrangement  is 
popular  with  those  who  lack  money,  time,  or  patience  to  devote 
a  whole  afternoon  or  evening  to  the  theater.  Most  of  such 


XXXIV  INTRODUCTION 

plays  are  trifling  and  without  literary  merit,  but  occasionally 
a  little  masterpiece  appears.  Even  the  worst  have  a  grace 
and  charm  wanting  in  the  forms  of  theatrical  entertainment 
provided  for  the  masses  in  our  country.  And  in  view  of  what 
Spanish  dramatists  are  achieving,  the  danger  that  the  more 
ambitious  drama  will  be  crowded  out  may  be  dismissed  as 
slight. 

BIBLIOGRAPHICAL  NOTE 
I.  GENERAL  WORKS 

Emilio  Cotarelo  y  Mori,  Coleccidn  de  enlre.meses,  has,  bailes, 
jdcaras  y  mojigangas  desde  fines  del  sigloXVI  a  mediados  del  XVII I, 
2  vols.,  Madrid,  1911  (vols.  XVII  and  XVIII  of  La  nueva  bi- 
blioteca  de  autores  espanoles).  The  introduction  contains  a  mass 
of  information  concerning  the  short  dramatic  forms  for  the 
period  treated.  It  is  the  most  extensive  work  on  the  entremes 
yet  printed,  but  is  often  uncritical,  and  leaves  certain  important 
aspects  of  the  subject  untreated.  All  of  Cervantes'  Interludes 
are  printed,  and  it  is  the  best  work  to  consult  for  the  early 
anonymous  farces,  and  those  of  Quinones  de  Benavente,  Salas 
Barbadillo,  Castillo  Sol6rzano.  Contains  many  has,  bailes,  etc. 

Leo  Rouanet,  Intermedes  espagnols  duXVIIe  siecle,  Paris,  1897. 
The  introduction  is  the  most  delightful  study  on  the  enlremeses 
ever  written.  Students  able  to  read  French  should  not  fail  to 
consult  it.  Nineteen  farces  are  translated  into  French,  with 
notes.  The  translator  has  been  guided  by  a  fine,  discriminating 
taste  in  making  his  selections. 

Winifred  Smith,  The  Commedia  deWarte,  New  York,  1912. 
The  best  introduction  to  the  subject  of  the  Italian  improvised 
comedy,  for  English-speaking  students.  An  excellent  bibli- 
ography of  the  subject. 

Bartoli,  Scenari  inediti  della  commedia  dell'arte,  Florence,  1880. 
A  collection  of  scenarios,  with  a  valuable  introduction. 

Emilio  del  Cerro,  Nel  regno  delle  maschere,  Naples,  1914- 
One  of  the  most  recent  and  valuable  treatments  of  the  subject. 


INTRODUCTION  XXXV 


II.   LOPE    DE   RUEDA 

Lope  de  Rueda,  Obras,  edited  by  Fuensanta  del  Valle,  2  vols., 
Madrid,  1895-1896.  Unsatisfactory  as  to  text. 

Lope  de  Rueda,  Qbras,  edited  by  E.  Cotarelo  y  Mori,  2  vols., 
Madrid,  1908.  Little,  if  any,  better  as  to  text.  The  vocabulary 
is  especially  unreliable. 

Lope  de  Rueda,  El  registro  de  representantes,  edited  by  Bonilla 
y  San  Martin,  Madrid,  1917.  Much  better  as  to  text. 

A.  L.  Stiefel,  "  Lope  de  Rueda  und  das  italienische  Lustspiel," 
\nZeitschriftfiir  romanische  Philologie,  XV,  183-216  and  318-343. 
The  most  important  scholarly  article  devoted  to  Lope.  His 
Italian  sources  are  indicated. 


III.   CERVANTES 

Entremeses  de  Miguel  de  Cervantes  Saavedra,  edited  by  Bonilla 
y  San  Martin,  Madrid,  1918.  The  text  is  a  decided  improve- 
ment upon  that  of  earlier  editions.  The  eight  authentic  farces 
and  Los  dos  habladores  are  included.  Many  of  the  notes  are 
valuable.  No  attempt  has  been  made  to  solve  a  great  many 
difficulties  in  the  text;  to  do  so  is  probably  beyond  the  power  of 
any  single  editor. 

Obras  completas  de  Miguel  de  Cervantes  Saavedra,  Comedias  y 
entremeses,  Tomo  IV,  Edited  by  Schevill  and  Bonilla,  Madrid, 
1918.  Virtually  a  reprint  of  the  above.  A  few  notes  have  been 
added.  Los  dos  habladores  is  omitted. 

Adolfo  de  Castro,  Varias  obras  ineditas  de  Cervantes,  Madrid, 
1874.  Most  of  the  plays  here  included  are  apocryphal  or  doubt- 
ful. Contains  the  Entremes  de  refranes. 

Armando  Cotarelo  y  Valledor,  El  teatro  de  Cervantes,  Madrid, 
1915.  A  very  extensive  work  which,  while  it  contains  little  new 
and  original  material,  brings  under  one  cover  most  of  what 
others  have  written  about  Cervantes'  dramatic  works. 

M.  A.  Buchanan,  "  Cervantes  as  a  Dramatist.  I.  The 
Interludes,"  in  Modern  Language  Notes,  XXXIII,  183-186. 
The  best  study  on  the  dating  of  these  plays. 


XXXVI  INTRODUCTION 

Edith  Fahnestock  and  Florence  Donnell  White,  The  Talkers, 
The  Colonnade,  XII,  and  The  Judge  of  the  Divorce  Court,  Ibid., 
XIII.  These  translations,  though  expurgated  and  at  times 
somewhat  free,  have  caught  the  spirit  of  the  original. 

Cervantes,  GV Intermezzi,  translated  by  A.  Giannini,  Lanciano, 
1915.  An  excellent  rendering  of  Cervantes'  farces  into  Italian. 

Cervantes,  Les  deux  bavards,  translated  by  Henri  de  Curzon, 
Toulouse,  1900.  An  excellent  French  version. 

Spanisches  Theater,  II,  Leipzig,  n.d.  The  eight  authentic  en- 
tremeses  of  Cervantes  and  Los  dos  habladores,  translated  into 
German  by  Hermann  Kurz. 

For  other  translations  of  Cervantes'  Interludes,  see  Rius, 
Bibliografia  de  las  obras  de  Cervantes,  Madrid,  1895,  I,  359—362. 


IV.    MISCELLANEOUS 

Obras  de  Lope  de  Vega  publicadas  par  la  Real  Academia  Es- 
panola,  II,  Madrid,  1892.  Contains  several  early  entremeses 
wrongly  attributed  to  Lope  de  Vega. 

Quevedo,  Obras,  Biblioteca  de  autores  espanoles,  LXIX,  Madrid, 
1877.  Contains  Quevedo's  dramatic  output. 

Bonilla  y  San  Martin,  Entremeses  del  siglo  XVII,  alribuidos 
al  Maestro  Tirso  de  Molina,  Madrid,  1909.  Most  of  these  are 
wrongly  attributed  to  Tirso. 

Cotarelo  y  Mori,  Migajas  del  ingenio,  coleccion  rarisima  de 
entremeses,  bailes  y  loas,  Madrid,  1908.  Entremeses  by  Lanini, 
Zabaleta,  Benavente,  and  others. 

Quinones  de  Benavente,  Enlremeses,  loas  y  j&raras,  edited  by 
C.  Rosell,  Libras  de  Antano,  I  and  II. 

B.  J.  Gallardo,  Ensayo  de  una  biblioteca  espanola  de  libros 
raros  y  curiosos,  4  vols.,  Madrid,  1863-1889.  Contains  mis- 
cellaneous material. 

Vicente  Garcia  de  la  Huerta,  Theatro  Hespanol,  Parte  IV, 
Madrid,  1785.  Contains  36  anonymous  entremeses. 

For  additional  collections  of  entremeses,  see  La  Barrera, 
Catdlogo  bibliogrdfico  y  biogrdfico  del  teatro  antiguo  espanol, 
Madrid,  1860,  pp.  713-720. 


INTRODUCTION  XXXV11 


V.   RAMON    DE   LA   CRUZ   Y   CANO 

Ram6n  de  la  Cruz  y  Cano,  Tealro,  10  vols.,  Madrid,  1786-1791. 

Ramon  de  la  Cruz  y  Cano,  Coleccidn  de  sainetes,  edited  by 
Agustin  Duran,  2  vols.,  Madrid,  1843. 

Ramon  de  la  Cruz  y  Cano,  Sainetes  ineditos  en  la  Biblioteca 
Municipal  de  Madrid,  edited  by  C.  Cambronero,  Madrid,  1900. 

Sainetes  de  Don  Ramdn  de  la  Cruz,  edited  by  E.  Cotarelo  y 
Mori,  Madrid,  1915. 

E.  Cotarelo  y  Mori,  Don  Ramon  de  la  Cruz  y  sus  obras,  Madrid, 
1899.  The  best  biography  and  critical  study  of  this  author. 

B.  Perez  Galdos,  "  Don  Ram6n  de  la  Cruz  y  su  6poca,"  in 
Revista  de  Espana,  1870,  XVII,  200-227. 

Antoine  de  Latour,  Sainetes  de  Ramon  de  la  Cruz,  Paris,  1865. 
A  judicious  choice  of  plays,  translated  into  French,  with  an 
instructive  introductory  treatise  on  the  author  and  his  works. 


PASO  SEPTIMO 


FOR 


LOPE    DE    RUEDA 


LOPE    DE    RUEDA 


AUTOR  DEL  PASO  SEPTIMO 
De  un  antiguo  grabado  en  madera 


EN  EL   CUAL   SE   INTRODUCEN 
LAS  PERSONAS  SIGUIENTES, 

COMPUESTO    FOR 
LOPE   DE   RUEDA 

TORUVIO,  simple,  viejo.  MENCIGUELA,  su  hija. 

AGUEDA  DE  TORUEGANO,  su  mujer.       ALOJA,  vecino. 

TORUVIO.  ;  Valame  Dios  y  que  tempestad  ha  hecho 
desdel  requebrajo  del  monte  aca,  que  no  parescia  sino  quel 
cielo  se  queria  hundir  y  las  nubes  venir  abajo  !  Pues  deci 
agora:  <i  que  os  terna  aparejado  de  comer  la  senora  de  mi 
mujer  ?  ;  Asi  mala  rabia  la  mate  !  j  Oislo  !  ;  Mochacha  5 
Mencigiiela  !  <:  Si  todos  duermen  en  Zamora  ?  ;  Agueda 
de  Toruegano  !  j  Oislo  ! 

MENCIGUELA.     j  Jesus,  padre  !    £  Y  habeisnos  de  que- 
brar  las  puertas? 

TORUVIO.     j  Mira  que  pico,  mira  que  pico  !    ±  Y  adonde  10 
esta  vuestra  madre,  senora  ? 

MENCIGUELA.    Alia  esta  en  casa  de  la  vecina,  que  le 
ha  ido  a  ayudar  a  coser  unas  madejillas. 

TORUVIO.     j  Malas  madejillas  vengan  por  ella  y  por 
vos  !    Andad  y  llamalda.  15 

3 


4  TEN   SPANISH  FARCES 

AGUEDA.  Ya,  ya,  el  de  los  misterios,  ya  viene  de  hacer 
una  negra  carguilla  de  leiia,  que  no  hay  quien  se  averigiie 
con  el. 

TORUVIO.     Si  carguilla  de  lena  le  paresce  a  la  senora, 
20  juro  al  cielo  de  Dios  que  eramos  yo  y  vuestro  ahijado  a 
cargalla  y  no  podiamos. 

AGUEDA.  Ya,  noramaza  sea,  marido,  j  y  que  mojado 
que  venis ! 

TORUVIO.    Vengo  hecho  una  sopa  dagua.    Mujer,  por 
25  vida  vuestra,  que  me  deis  algo  que  cenar. 

AGUEDA.  <J  Yo  que  diablos  os  tengo  de  dar,  si  no  tengo 
cosa  ninguna? 

MENCIGUELA.     j  Jesus,  padre,  y  que  mojada  que  venia 
aquella  lena ! 
30      TORUVIO.     Si,  despues  dira  tu  madre  ques  el  alba. 

AGUEDA.  Corre,  mochacha,  adrezale  un  par  de  huevos 
para  que  cene  tu  padre,  y  hazle  luego  la  cama.  Yos  ase- 
guro,  marido,  que  nunca  se  os  acordo  de  plantar  aquel 
renuevo  de  aceitunas  que  rogue  que  plantasedes. 
35  TORUVIO.  Pues,  <i  en  que  me  he  detenido  sino  en  plan- 
talle  como  me  rogastes? 

AGUEDA.     Callad,  marido;   «jy  adonde  lo  plantastes? 

TORUVIO.  Alii  junto  a  la  higuera  breval,  adonde,  si 
se  os  acuerda,  os  di  un  beso. 

4o      MENCUIGELA.     Padre  bien  puede  entrar  a  cenar,  que 
ya  esti  adrezado  todo. 

AGUEDA.  Marido,  <Jno  sabeis  que  he  pensado?  Que 
aquel  renuevo  de  aceitunas  que  plantastes  hoy,  que  de 
aqui  a  seis  o  siete  anos  llevara  cuatro  o  cinco  hanegas 
45  de  aceitunas,  y  que  poniendo  plantas  acd  y  plantas 
aculla,  de  aqui  a  veinte  y  cinco  o  treinta  anos,  terneis 
un  olivar  hecho  y  drecho. 


PASO   SEPTIMO  $ 

TORUVIO.  Eso  es  la  verdad,  mujer,  que  no  puede  dejar 
de  ser  Undo. 

AGUEDA.     Mira,   marido,    <i  sabeis   que   he  pensado  ?  50 
Que  yo  cogere  la  aceituna  y  vos  la  acarreareis  con  el  as- 
nillo,  y  Mencigiiela  la  vendera  en  la  plaza.     Y  mira, 
mochacha,  que  te  mando  que  no  me  des  menos  el  celemin 
de  a  dos  reales  castellanos. 

TORUVIO.     £  Como  a  dos    reales  castellanos  ?      <»  No  55 
veis  ques  cargo  de  consciencia  y  nos  llevara  el  amotazen 
cadaldia  la  pena?  que  basta  pedir  a  catorce  o  quince 
dineros  por  celemin. 

AGUEDA.  Callad,  marido,  ques  el  veduno  de  la  casta 
de  los  de  Cordoba.  60 

TORUVIO.  Pues,  aunque  sea  de  la  casta  de  los  de 
Cordoba,  basta  pedir  lo  que  tengo  dicho. 

AGUEDA.  Ora  no  me  quebreis  la  cabeza.  Mira,  mo- 
chacha, que  te  mando  que  no  las  des  menos  el  celemin  de 
a  dos  reales  castellanos.  65 

TORUVIO.  <»  Como  a  dos  reales  castellanos  ?  Ven  aca, 
mochacha.  <J  A  como  has  de  pedir  ? 

MENCIGUELA.    A  como  quisieredes,  padre. 

TORUVIO.    A  catorce  o  quince  dineros. 

MENCIGUELA.    Asi  lo  hare,  padre.  70 

AGUEDA.  <i  Como  «  asi  lo  hare,  padre » ?  Ven  aca,  mo- 
chacha. <3  A  como  has  de  pedir  ? 

MENCIGUELA.    A  como  mandaredes,  madre. 

AGUEDA.    A  dos  reales  castellanos. 

TORUVIO.     <J  Como  a  dos  reales  castellanos  ?    Yos  pro-  75 
meto  que  si  no  haceis  lo  que  yo  os  mando,  que  os  tengo 
de  dar  mas  de  doscientos  correonazos.     <?  A  como  has  de 
pedir  ? 

MENCIGUELA.    A  como  decis  vos,  padre. 


6  TEN   SPANISH   FARCES 

80      TORUVIO.     A  catorce  o  quince  dineros. 
MENCIGUELA.    Asi  lo  hare,  padre. 
AGUEDA.     <j  Como  «  asi  lo  hare,  padre  » ?  Toma,  toma, 
hace  lo  que  yos  mando. 

TORUVIO.    Dejad  la  mochacha. 

85      MENCIGUELA.     j  Ay,   madre !     ;  Ay,   padre,   que    me 
mata ! 

ALOJA.  £  Ques  esto,  vecinos  ?  <J  For  que  maltratais 
ansi  la  mochacha? 

AGUEDA.     \  Ay,  sefior  !     j  Este  mal  hombre   que  me 

90  quiere  dar  las  cosas  a  menos  precio,  y  quiere  echar  a 

perder  mi  casa  !    \  Unas  aceitunas  que  son  como  nueces  ! 

TORUVIO.     Yo  juro  a  los  huesos  de  mi  linaje  que  no 

son  ni  aim  como  pinones. 

AGUEDA.     Si  son. 
95      TORUVIO.    No  son. 

ALOJA.    Ora,  sefiora  vecina,  haceme  tamafio  placer  que 
os  entreis  alia  dentro,  que  yo  lo  averiguare  todo. 
AGUEDA.    Averigiie  o  pongase  todo  del  quebranto. 
ALOJA.     Sefior  vecino,    £  que   son   de   las  aceitunas? 
iooSacaldas  aca  fuera;    que  yo  las  comprare,  aunque  scan 
veinte  hanegas. 

TORUVIO.  Que  no,  sefior;  que  no  es  desa  manera  que 
vuesa  merced  se  piensa;  que  no  estan  las  aceitunas  aqui 
en  casa,  sino  en  la  heredad. 

105     ALOJA.     Pues  traeldas  aqui;   que  yos  las  comprare  todas 
al  precio  que  justo  fuere. 

MENCIGUELA.  A  dos  reales  quiere  mi  madre  que  se 
vendan  el  celemin. 

ALOJA.    Cara  cosa  es  esa. 

no     TORUVIO.     <;  No  le  paresce  a  vuesa  merced? 
MENCIGUELA.     Y  mi  padre  a  quince  dineros. 


PASO   SEPTIMO  7 

ALOJA.    Tenga  yo  una  muestra  dellas. 

TORUVIO.  j  Valame  Dios,  seiior !  Vuesa  merced  no 
me  quiere  entender.  Hoy  he  yo  plantado  un  renuevo  de 
aceitunas,  y  dice  mi  mujer  que  de  aqui  a  seis  o  siete  anosns 
llevara  cuatro  o  cinco  hanegas  de  aceitunas,  y  quella  la 
cogeria,  y  que  yo  la  acarrease  y  la  mochacha  la  vendiese, 
y  que  a  fuerza  de  drecho  habia  de  pedir  a  dos  reales  por 
cada  celemin;  yo  que  no  y  ella  que  si,  y  sobre  esto  ha  sido 
la  quistion.  I20 

ALOJA.  j  Oh,  que  graciosa  quistion !  ;  nunca  tal  se 
ha  visto  !  Las  aceitunas  no  estan  plantadas,  £  y  ha  llevado 
la  mochacha  tarea  sobre  ellas  ? 

MENCIGUELA.     <;  Que  le  paresce,  senor  ? 

TORUVIO.    No   llores,    rapaza.     La  mochacha,   senor,  125 
es  como  un  oro.     Ora  andad,  hija,  y  ponedme  "a  mesa, 
que  yos  prometo  de  hacer  un  sayuelo  de  las  primeras 
aceitunas  que  se  vendieren. 

ALOJA.  Ora  andad,  vecino,  entraos  alia  adentro  y  tened 
paz  en  vuestra  mujer.  130 

TORUVIO.     Adios,  senor. 

ALOJA.  Ora  por  cierto,  j  que  cosas  vemos  en  esta  vida 
que  ponen  espanto !  Las  aceitunas  no  estan  plantadas, 
ya  las  habemos  visto  renidas.  Razon  sera  que  de  fin  a 
mi  embajada.  135 

FIN. 


ENTREMfiS  DE 

LA  CUEVA  DE  SALAMANCA 

FOR 

MIGUEL  DE   CERVANTES  SAAVEDRA 
1547-1616 


ENTREMES    DE 

LA  CUEVA  DE  SALAMANCA 

[FOR 
MIGUEL  DE  CERVANTES  SAAVEDRA 

LOS  QUE  HABLAN  EN  EL 

SON 
LOS  SIGUIENTES 

PANCRACIO.  EL  BARBERO. 

CARRAOLANO,  estudiante.       LEONISO,  compadre  de  Pancracio. 
REPONCE,  sacristan.  LEONARDA. 

CRISTINA.] 

Salen  PANCRACIO,  LEONARDA  y  CRISTINA. 

PANCRACIO.  Enjugad,  senora,  esas  lagrimas,  y  poned 
pausa  a  vuestros  suspiros,  considerando  que  cuatro  dias 
de  ausencia  no  son  siglos.  Yo  volvere,  a  lo  mas  largo, 
a  los  cinco,  si  Dios  no  me  quita  la  vida;  aunque  sera 
mejor,  por  no  turbar  la  vuestra,  romper  mi  palabra,  y  5 
dejar  esta  Jornada;  que  sin  mi  presencia  se  podra  casar 
mi  hermana. 

LEONARDA.  No  quiero  yo,  mi  Pancracio  y  mi  sefior, 
que  por  respeto  mio  vos  parezcais  descortes;  id,  en  hora 
buena,  y  cumplid  con  vuestras  obligaciones,  pues  las  que  10 
os  llevan  son  precisas:  que  yo  me  apretare  con  mi  llaga, 
y  pasare  mi  soledad  lo  menos  mal  que  pudiere.  Solo  os 
encargo  la  vuelta,  y  que  no  paseis  del  termino  que  habeis 


12  TEN    SPANISH   FARCES 

puesto.     ;  Tenme,  Cristina,  que  se  me  aprieta  el  cora- 

is  zon  !  Desmdyase  Leonardo,. 

CRISTINA.     j  Oh,    que    bien    hayan    las  bodas  y  las 

fiestas !    En  verdad,  senor,  que  si  yo   fuera  que  vuesa 

merced,  que  nunca  alia  fuera. 

PANCRACIO.    Entra,  hija,  por  un  vidro  de  agua,  para 

20  echarsela  en  el  rostro.     Mas  espera;  direle  unas  palabras 

que  se  al  oido,  que  tienen  virtud  para  hacer  volver  de  los 

desmayos.      Dicele  las  palabras;  vuelve  Leonarda,  diciendo: 

LEONARDA.     Basta;  ello  ha  de  ser  forzoso;  no  hay  sino 

tener  paciencia.     Bien  mio,  cuanto  mas  os  detuvieredes, 

25  mas  dilatais  mi   contento.    Vuestro  compadre    Leoniso 

os  debe  de  aguardar  ya  en  el  coche.     Andad  con  Dios. 

Que  el  os  vuelva  tan  presto  y  tan  bueno  como  yo  deseo. 

PANCRACIO.     Mi  angel,  si  gustas  que  me  quede,  no 
me  movere  de  aqui  mas  que  una  estatua. 
30      LEONARDA.     No,  no,  descanso  mio;  que  mi  gusto  esta 
en  el  vuestro,  y  por  agora  mas  que  os  vais  que  no  os  que- 
deis,  pues  es  vuestra  honra  la  mia. 

CRISTINA.     j  O  espejo  de  matrimonio  !     ;  A  fe,  que  si 

todas  las  casadas  quisiesen  tanto  a  sus  maridos  como  mi 

35  senora  Leonarda  quiere  al  suyo,  que  otro  gallo  les  cantase! 

LEONARDA.    Entra,  Cristinica,  y  saca  mi  manto,  que 

quiero  acompanar  a  tu  senor  hasta  dejarle  en  el  coche. 

PANCRACIO.     No,  por  mi  amor;  abrazadme,  y  quedaos, 
por  vida  mia.     Cristinica,  ten  cuenta  de  regalar  a  tu 
40  senora,  que  yo  te  mando  un  calzado  cuando  vuelva,  como 
tu  le  quisieres. 

CRISTINA.    Vaya,  senor,  y  no  lleve  pena  de  mi  senora, 

porque  la  pienso  persuadir  de  manera  a  que  nos  holguemos, 

que  no  imagine  en  la  falta  que  vuesa  merced  k  ha  de  hacer. 

45      LEONARDA.     <j  Holgar   yo  ?    j  Que   bien   estas   en   la 


LA   CUEVA  DE   SALAMANCA  13 

cuenta,  nina  !  porque  ausente  de  mi  gusto,  no  se  hicieron 
los  placeres  ni  las  glorias  para  mi;  penas  y  dolores,  si. 

PANCRACIO.  Ya  no  lo  puedo  sufrir.  Quedad  en  paz, 
lumbre  de  estos  ojos,  los  cuales  no  veran  cosa  que  les  de 
placer,  hasta  volveros  a  ver.  fintrase  Pancracio.  50 

LEONARDA.  j  Alia  daras,  rayo,  en  casa  de  Ana  Diaz ! 
i  Vayas  y  no  vuelvas  !  \  La  ida  del  humo  !  j  For  Dios, 
que  esta  vez  no  os  han  de  valer  vuestras  valentias  ni 
vuestros  recatos ! 

CRISTINA.     Mil    veces    temi    que    con    tus    extremos  55 
habias  de  estorbar  su  partida  y  nuestros  contentos. 

LEONARDA.  <?  Si  vendran  esta  noche  los  que  esperamos  ? 
CRISTINA.  <i  Pues  no  ?  Ya  los  tengo  avisados,  y  ellos 
estan  tan  en  ello  que  esta  tarde  enviaron  con  la  lavandera, 
nuestra  secretaria,  como  que  eran  pafios,  una  canasta  de  60 
colar,  llena  de  mil  regalos  y  de  cosas  de  comer,  que  no 
parece  sino  uno  de  los  serones  que  da  el  rey  el  Jueves 
Santo  a  sus  pobres;  sino  que  la  canasta  es  de  Pascua, 
porque  hay  en  ella  empanadas,  fiambreras,  manjar  bianco, 
y  dos  capones  que  aun  no  estan  acabados  de  pelar,  y  todo  65 
genero  de  fruta  de  la  que  hay  ahora;  y  sobre  todo,  una 
bota  de  hasta  una  arroba  de  vino,  de  lo  de  una  oreja,  que 
huele  que  trasciende. 

LEONARDA.  Es  muy  cumplido,  y  lo  fue  siempre,  mi 
Reponce,  sacristan  de  las  telas  de  mis  entrafias.  }o 

CRISTINA.  Pues,  ^  que  le  falta  a  mi  maese  Nicolas, 
barbero  de  mis  higados  y  navaja  de  mis  pesadumbres, 
que  asi  me  las  rapa  y  quita  cuando  le  veo,  como  si  nunca 
las  hubiera  tenido  ? 

LEONARDA.     <j  Pusiste  la  canasta  en  cobro  ?  7S 

CRISTINA.  En  la  cocina  la  tengo,  cubierta  con  un  cer- 
nadero,  por  el  disimulo. 


14  TEN   SPANISH   FARCES 

Llama  a  la  puerta  el  estudiante  CARRAOLANO,  y  en  lla- 
mando,  sin  esperar  que  le  respondan,  entra. 

LEONARDA.     Cristina,  mira  quien  llama. 

ESTUDIANTE.     Senoras,  yo  soy  un  pobre  estudiante. 
80     CRISTINA.     Bien  se  os  parece  que  sois  pobre  y  estu- 
diante, pues  lo  uno  muestra  vuestro  vestido,  y  el  ser 
pobre,  vuestro  atrevimiento.     Cosa  extrana  es  esta,  que 
no  hay  pobre  que  espere  a  que  le  saquen  la  limosna  a  la 
puerta,  sino  que  se  entran  en  las  casas  hasta  el  ultimo 
85  rincon,  sin  mirar  si  despiertan  a  quien  duerme,  o  si  no. 

ESTUDIANTE.  Otra  mas  blanda  respuesta  esperaba  yo 
de  la  buena  gracia  de  vuesa  merced;  cuanto  mas  que  yo 
no  quena  ni  buscaba  otra  limosna,  sino  alguna  caballeriza 
o  pajar  donde  defenderme  esta  noche  de  las  inclemencias 
90  del  cielo,  que,  segun  se  me  trasluce,  parece  que  con  grandi- 
simo  rigor  a  la  tierra  amenazan. 

LEONARDA.     <;  Y  de  donde  bueno  sois,  amigo  ? 

ESTUDIANTE.     Salmantino  soy,  sefiora  mia;   quiero  de- 

cir  que  soy  de  Salamanca.     Iba  a  Roma  con  un  tio  mio, 

95  el  cual  murio  en  el  camino,  en  el  corazon  de  Francia. 

Vine  solo;    determine  volverme  a  mi  tierra;    robaronme 

los  lacayos  o  companeros  de  Roque  Guinarde  en  Cata- 

luna,  porque  el  estaba  ausente;  que,  a  estar  alii,  no  con- 

sintiera  que  se  me  hiciera  agravio;  porque  es  muy  cortes 

zoo  y  comedido,  y  ademas  limosnero.     Hame  tornado  a  estas 

santas  puertas  la  noche,  que  por  tales  las  juzgo,  y  busco  mi 

remedio. 

LEONARDA.    En  verdad,  Cristina,  que  me  ha  movido 
a  lastima  el  estudiante. 

105  CRISTINA.  Ya  me  tiene  a  mi  rasgadas  las  entranas. 
Tengamosle  en  casa  esta  noche,  pues  de  las  sobras  del 
Castillo  se  podra  mantener  el  real ;  quiero  decir,  que  en  las 


LA   CUEVA  DE   SALAMANCA  1 5 

reliquias  de  la  canasta  habra  en  quien  adore  su  hambre; 
y  mas,  que  me  ayudara  a  pelar  la  volateria  que  viene  en 
la  cesta.  no 

LEONARDA.  Pues,  <;  como,  Cristina,  quieres  que  meta- 
mos  en  nuestra  casa  testigos  de  nuestras  liviandades? 

CRISTINA.  Asi  tiene  el  talle  de  hablar  por  el  colodrillo 
como  por  la  boca.  Venga  aca,  amigo,  ,;  sabe  pelar  ? 

ESTUDIANTE.     <i  Como  si  se  pelar?    No  entiendo.  esons 
de  saber  pelar,  si  no  es  que  quiere  vuesa  merced  mote- 
jarme  de  pelon;  que  no  hay  para  que,  pues  yo  me  confieso 
por  el  mayor  pelon  del  mundo. 

CRISTINA.  No  lo  digo  por  eso,  en  mi  anima,  sino  por 
saber  si  sabia  pelar  dos  o  tres  pares  de  capones.  120 

ESTUDIANTE.  Lo  que  sabre  responder  es  que  yo,  seno- 
ras,  por  la  gracia  de  Dios,  soy  graduado  de  bachiller  por 
Salamanca,  y  no  digo  .  .  . 

LEONARDA.     Desa    manera,    <f  quien    duda,  sino    que 
sabra  pelar,  no  solo  capones,  sino  gansos  y  avutardas?  125 
Y  en  esto  del  guardar  secreto,  ,3  como  le  va  ?  y  a  dicha, 
,j  [es^  tentado  de  decir  todo  lo  que  ve,  imagina,  o  siente  ? 

ESTUDIANTE.  Asi  pueden  ma  tar  delante  de  mi  mas 
hombres  que  carneros  en  el  Rastro,  que  yo  desplegue  mis 
labios  para  decir  palabra  alguna.  130 

CRISTINA.  Pues  aturese  esa  boca,  y  cosase  esa  lengua 
con  una  agujeta  de  dos  cabos,  y  amuelese  esos  dientes,  y 
entrese  con  nosotras,  y  vera  misterios  y  cenara  maravillas, 
y  podra  medir  en  un  pajar  los  pies  que  quisiere  para  su 
cama.  135 

ESTUDIANTE.  Con  siete  tendre  demasiado;  que  no  soy 
nada  codicioso  ni  regalado. 

Entran  el  SACRISTAN  REPONCE  y  el  BARBERO. 

SACRISTAN     \  O,  que  en  hora  buena  esten  los  Autome- 


1 6  TEN   SPANISH   FARCES 

don[t]es  y  guias  de  los  carros  de  nuestros  gustos,  las  luces 
uode  nuestras  tinieblas,  y  las  dos  reciprocas  voluntades  que 
sirven  de  basas  y  colunas  a  la  amorosa  fabrica  de  nuestros 
deseos ! 

LEONARDA.    Eso  solo  me  enfada  del.    Reponce  mio, 
habla,  por  tu  vida,  a  lo  moderno  y  de  modo  que  te  en- 
145  tienda,  y  no  te  encarames  donde  no  te  alcance. 

BARBERO.  Eso  tengo  yo  bueno,  que  hablo  mas  llano 
que  una  suela  de  zapato;  pan  por  vino  o  vino  por  pan, 
o  como  suele  decirse. 

SACRISTAN.     Si,   que   diferencia   ha   de   haber  de  un 
i  so  sacristan  gramatico  a  un  barbero  romancista. 

CRISTINA.  Para  lo  que  yo  he  menester  a  mi  barbero, 
tanto  latin  sabe,  y  aun  mas  que  supo  Antonio  de  Nebrija. 
Y  no  se  dispute  agora  de  ciencia,  ni  de  modos  de  hablar, 
que  cada  uno  habla,  si  no  como  debe,  a  lo  menos  como 
i ss  sabe.  Y  entremonos,  y  manos  a  labor,  que  hay  mucho 
que  hacer. 

ESTUDIANTE.     Y  mucho  que  pelar. 
SACRISTAN.     <i  Quien  es  este  buen  hombre  ? 
LEONARDA.     Un  pobre  estudiante   salamanqueso  que 
i6opide  albergo  para  esta  noche. 

SACRISTAN.  Yo  le  dare  un  par  de  reales  para  cena  y 
para  lecho,  y  vayase  con  Dios. 

ESTUDIANTE.     Senor  sacristan  Reponce,  recibo  y  agra- 

dezco  la  merced  y  la  limosna;  pero  yo  soy  mudo,  y  pelon 

i6sademas,  como  lo  ha  menester  esta  senora  doncella,  que 

me  tiene  convidado;  y  voto  a  ...  de  no  irme  esta  noche 

desta  casa,  si  todo  el  mundo  me  lo  manda.     Confiese  vuesa 

merced  mucho  de  enhoramala  de  un  hombre  de  mis  pren- 

das  que  se  contenta  de  dormir  en  un  pajar;    y  si  lo  han 

1 70  por  sus  capones,  peleselos  el  Turco  y  comanselos  ellos,  y 

nunca  del  cuero  les  salgan. 


LA   CUEVA  DE   SALAMANCA  1<J 

BARBERO.  Este  mas  parece  rufian  que  pobre;  talle 
tiene  de  alzarse  con  toda  la  casa. 

CRISTINA.    No  medre  yo  si  no  me  contenta  el  brio. 
Entremonos  todos,  y  demos  orden  en  lo  que  se  ha  de  hacer;  175 
que  el  pobre  pelara,  y  callara  como  en  misa. 

ESTUDIANTE.    Y  aun  como  en  visperas. 

SACRISTAN.  Puesto  me  ha  miedo  el  pobre  estudiante; 
yo  apostare  que  sabe  mas  latin  que  yo. 

LEONARDA.    De  ahi  le  deben  de  nacer  los  brios  que  180 
tiene;   pero  no  te  pese,  amigo,  de  hacer  caridad,  que  vale 
para  todas  las  cosas.  Entranse  todos, 

y  sale  LEONISO,  compadre  de  PANCRACIO,  y  PANCRACIO. 

COMPADRE.    Luego  lo  vi  yo  que  nos  habia  de  f altar  la 
rueda.     No  hay  cochero  que  no  sea  tematico;  si  el  rodeara 
un  poco  y  salvara  aquel  barranco,  ya  estuvieramos  dosiSs 
leguas  de  aqui. 

PANCRACIO.  A  mi  no  se  me  da  nada;  que  antes  gusto 
de  volverme  a  pasar  esta  noche  con  mi  esposa  Leonarda 
que  en  la  venta;  porque  la  deje  esta  tarde  casi  para  ex- 
pirar  del  sentimiento  de  mi  partida.  190 

COMPADRE.  j  Gran  mujer  !  j  De  buena  os  ha  dado 
el  cielo,  senor  compadre  !  Dadle  gracias  por  ello. 

PANCRACIO.    Yo  se  las  doy  como  puedo,  y  no  como 
debo.    No  hay  Lucrecia  que  se  llegue,  ni  Porcia  que  se 
le  iguale.    La  honestidad  y  el  recogimiento  han  hecho  195 
en  ella  su  morada. 

COMPADRE.     Si  la  mia  no  fuese  celosa,  no  tenia  yo  mas 
que  desear.     Por  esta  calle  esta  mas  cerca  mi  casa ;  tomad, 
compadre,  por  estas,  y  estareis  presto  en  la  vuestra;    y 
veamonos  mafiana,  que  [no]  me  faltara  coche  para  la  200 
Jornada.     Adios. 

PANCRACIO.     Adios.  £ntranse  los  dos. 


l8  TEN  SPANISH  FARCES 

Vuelven  a  salir  el  SACRISTAN,  el  BARBERO  con  sus 
guilarras,  LEONARDA,  CRISTINA,  y  el  ESTUDIANTE.  Sale 
el  SACRISTAN  con  la  sotana  alzada  y  cenida  al  cuerpo, 
danzando  al  son  de  su  misma  guitarra;  y  a  coda  cabriola 
vaya  diciendo  estas  palabras: 

SACRISTAN,     j  Linda  noche,  lindo  rato, 
linda  cena,  y  lindo  amor ! 

205     CRISTINA.     Senor  sacristan  Reponce,  no  es  este  tiempo 
de  danzar;   dese  orden  en  cenar  y  en  las  demas  cosas,  y 
quedense  las  danzas  para  mejor  coyuntura. 
SACRISTAN.     \  Linda  noche,  lindo  rato, 
linda  cena,  y  lindo  amor  ! 

210     LEONARDA.    Dejale,  Cristina;    que  en  extremo  gusto 
de  ver  su  agilidad. 

Llama  PANCRACIO  a  la  puerta,  y  dice: 
PANCRACIO      Gente  dormida,  £  no  ois  ?    j  Como  !     <J  Y 
tan  temprano  teneis  atrancada  la  puerta  ?    Los  recatos  de 
mi  Leonarda  deben  de  andar  por  aqui. 
215     LEONARDA.     j  Ay,    desdichada !    A   la   voz   y   a   los 
golpes,  mi  marido  Pancracio  es  este.    Algo  le  debe  de 
haber  sucedido,  pues  el  se  vuelve.     Senores,  a  recogerse 
a  la  carbonera;    digo  al  desvan,  donde  esta  el  carbon. 
Corre,  Cristina,  y  llevalos;    que  yo  entretendre  a  Pan- 
22ocracio  de  modo  que  tengas  lugar  para  todo. 
ESTDDIANTE.     j  Fea  noche,  amargo  rato, 
mala  cena,  y  peor  amor  ! 

CRISTINA.  \  Gentil  relente,  por  cierto  !  j  Ea,  vengan 
todos ! 

025     PANCRACIO.     <j  Que  diablos  es  esto  ?     <j  Como  no  me 
abris,  lirones? 

ESTUDIANTE.    Es  el  toque  que  yo  no  quiero  correr  la 


LA  CUEVA   DE   SALAMANCA  IQ 

suerte  de  estos  senores;  escondanse  ellos  donde  quisieren, 
y  llevenme  a  mi  al  pajar 

CRISTINA.     j  Caminen,  que  se  hunde  la  casa  a  golpes!  230 

SACRISTAN,     j  El  alma  llevo  en  los  dientes ! 

BARBERO.     j  Y  yo  en  los  carcanares ! 

Entranse  todos,  y  asomase  LEONARDA  a  la   entana. 

LEONARDA.     £  Quien  esta  ahi  ?     <;  Quien  llama  ? 

PANCRACIO.    Tu  marido  soy,  Leonarda  mia.     Abreme, 
que  ha  media  hora  que  estoy  rompiendo  a  golpes  estas  235 
puertas. 

LEONARDA.  En  la  voz  bien  me  parece  a  mi  que  oigo 
a  mi  cepo  Pancracio;  pero  la  voz  de  un  gallo  se  parece  a 
la  de  otro  gallo,  y  no  me  aseguro. 

PANCRACIO.     j  Oh  recato  inaudito  de  mujer  prudente!  240 
Que  yo  soy,  vida  mia,  tu  marido  Pancracio;    abreme  con 
toda  seguridad. 

LEONARDA.  Venga  aca,  yo  lo  vere  agora.  ,3  Que  hice 
yo  cuando  el  se  partio  esta  tarde  ? 

PANCRACIO.     Suspiraste,  lloraste,  y  al  cabo   te  des-  245 
mayaste. 

LEONARDA.  Verdad;  pero  con  todo  esto,  digame, 
i  que  sefiales  tengo  yo  en  uno  de  mis  hombros  ? 

PANCRACIO.     En  el  izquierdo  tienes  un  lunar  del  gran- 
dor  de  medio  real,  con  tres  cabellos  como  tres  mil  hebras  250 
de  oro. 

LEONARDA.  Verdad;  pero,  £  como  se  llama  la  doncella 
de  casa? 

PANCRACIO.  Ea,  boba,  no  seas  enfadosa.  Cristinica 
se  llama;  <J  que  mas  quieres?  255 

LEONARDA.  Cristinica,  Cristinica,  tu  senor  es;  abrele, 
nifia. 

CRISTINA.     Ya  voy,  senora;  que  el  sea  muy  bien  venido. 


2O  TEN   SPANISH  FARCES 

<i  Que  es  esto,  senor  de  mi  alma  ?     ,;  Que  acelerada  vuelta 
26068  esta? 

LEONARDA.     j  Ay,  bien  mio !     Decidnoslo  presto,  que 
el  temor  de  algun  mal  suceso  me  tiene  ya  sin  pulsos. 

PANCRACIO.    No  ha  sido  otra  cosa  sino  que  en  un 

barranco  se  quebro  la  rueda  del  coche,  y  mi  compadre  y 

265  yo  determinamos  volvernos,  y  no  pasar  la  noche  en  el 

campo;  y  manana  buscaremos  en  que  ir,  pues  hay  tiempo. 

Pero,  ,J  que  voces  hay  ? 

Dentro,  y  como  de  muy  lejos,  diga  el  ESTUDIANTE: 

ESTUDIANTE.    Abranme  aqui,  senores;    que  me  ahogo. 

PANCRACIO.     <?  Es  en  casa,  o  en  la  calle  ? 
270     CRISTINA.     Que  me  maten  si  no  es  el  pobre  estudiante 
que  encerre  en  el  pajar  para  que  durmiese  esta  noche. 

PANCRACIO.  <J  Estudiante  encerrado  en  mi  casa,  y 
en  mi  ausencia  ?  i  Malo  !  En  verdad,  senora,  que  si 
no  me  tuviera  asegurado  vuestra  mucha  bondad,  que 
275  me  causara  algun  recelo  este  encerramiento.  Pero  ve, 
Cristina,  y  abrele,  que  se  le  debe  haber  caido  toda  la  paja 
a  cuestas. 

CRISTINA.    Ya  voy. 

LEONARDA.     Senor,  que  es  un  pobre  salamanqueso  que 

28opidio  que  le  acogiesemos  esta  noche,  por  amor  de  Dios, 

aunque  fuese  en  el  pajar;   y  ya  sabes  mi  condition,  que 

no  puedo  negar  nada  de  lo  que  se  me  pide,  y  encerramosle; 

pero  veisle  aqui,  y  mirad  cual  sale. 

Sale  el  ESTUDIANTE  y  CRISTINA,  el  lleno  de  paja  las  bar- 
bas,  cabeza,  y  vestido. 

ESTUDIANTE.     Si  yo  no  tuviera  tanto  miedo,  y  fuera 
28smenos  escrupuloso,  yo  hubiera  excusado  el   peligro    de 
ahogarme  en  el  pajar,  y  hubiera  cenado  mejor,  y  tenido 
mas  blanda  y  menos  peligrosa  cama. 


LA   CUEVA   DE   SALAMANCA  21 

PANCRACIO.  «j  Y  quien  os  habia  de  dar,  amigo,  mejor 
cena  y  mejor  cama  ? 

ESTUDIANTE.     i  Quien  ?  mi  habilidad;  sino  que  el  te- 290 
mor  de  la  justicia  me  tiene  atadas  las  manos. 

PANCRACIO.  Peligrosa  habilidad  debe  de  ser  la  vuestra, 
pues  os  temeis  de  la  justicia. 

ESTUDIANTE.  La  ciencia  que  aprendi  en  la  Cueva  de 
Salamanca,  de  donde  yo  soy  natural,  si  se  dejara  usar  sin  295 
miedo  de  la  Santa  Inquisicion,  yo  se  que  cenara  y  recenara 
a  costa  de  mis  herederos ;  y  aun  quiza  no  estoy  muy  f uera 
de  usalla,  siquiera  por  esta  vez,  donde  la  necesidad  me 
fuerza  y  me  disculpa;  pero  no  se  yo  si  estas  senoras  seran 
tan  secretas  como  yo  lo  he  sido.  300 

PANCRACIO.  No  se  cure  dellas,  amigo,  sino  haga  lo  que 
quisiere,  que  yo  les  hare  que  callen;  y  ya  deseo  en  todo 
extremo  ver  alguna  destas  cosas  que  dicen  que  se  aprenden 
en  la  Cueva  de  Salamanca. 

ESTUDIANTE.     <J  No  se  contentara  vuesa  merced  con  305 
que  le  saque  aqui  dos  demonios  en  figuras  humanas,  que 
traigan  a  cuestas  una  canasta  llena  de  cosas  fiambres  y 
comederas  ? 

PANCRACIO.     ^  Demonios  en  mi  casa,  y  en  mi  presencia  ? 

LEONARDA  \_aparte\.     \  Jesus  !    \  Librada  sea  yo  de  lo  310 
que  librarme  no  se  ! 

CRISTINA  \_aparie\.  \  El  mismo  diablo  tiene  el  estudi- 
ante  en  el  cuerpo  !  j  Plega  a  Dios  que  vaya  a  buen  viento 
esta  parva !  Temblandome  esta  el  corazon  en  el  pecho. 

PANCRACIO.    Ahora  bien;  si  ha  de  ser  sin  peligro  y  sin 31 5 
espantos,  yo  me  holgare  de  ver  esos  senores  demonios  y 
a  la  canasta  de  las  fiambreras;  y  torno  a  advertir  que  las 
figuras  no  scan  espantosas. 

ESTUDIANTE.  Digo  que  saldran  en  figura  del  sacristan 
de  la  parroquia,  y  en  la  de  un  barbero,  su  amigo.  320 


22  TEN   SPANISH   FARCES 

CRISTINA.     <J  Mas  que  ?     <J  lo  dice  por  el  sacristan  Re- 
ponce,  y  por  maese  Roque,  el  barbero  de  casa  ?     j  Des- 
dichados  dellos,  que  se  han  de  ver  convertidos  en  diablos ! 
Y  digame,  hermano,  <J  y  estos  han  de  ser  diablos  bau- 
325  tizados  ? 

ESTUDIANTE.  j  Gentil  novedad !  <J  Adonde  diablos 
hay  diablos  bautizados,  o  para  que  se  han  de  bautizar  los 
diablos  ?  Aunque  podra  ser  que  estos  lo  fuesen,  porque  no 
hay  regla  sin  excepcion;  y  apartense,  y  veran  mara villas. 
330  LEONARDA  \_aparte  a  Cristind].  \  Ay,  sin  ventura ! 
j  Aqui  se  descose !  j  Aqui  salen  nuestras  maldades  a 
plaza  !  j  Aqui  soy  muerta  ! 

CRISTINA  [aparte  a  Leonardo}.      Animo,   senora;    que 
buen  corazon  quebranta  mala  ventura. 

ESTUDIANTE. 

335  Vosotros,  mezquinos,   que  en  la  carbonera 

hallastes  amparo  a  vuestra  desgracia, 
salid,  y  en  los  hombros,  con  priesa  y  con  gracia, 
sacad  la  canasta  de  la  fiambrera. 
No  me  inciteis  a  que  de  otra  manera 
340         Mas  dura  os  conjure,     j  Salid  !     ,;  Que  esperais  ? 
Mirad  que  si,  a  dicha,  el  salir  rehusais, 
Tendra  mal  suceso  mi  nueva  quimera. 

Ora  bien,  yo  se  como  me  tengo  de  haber  con  estos 
demonicos  humanos.     Quiero  entrar  alia  dentro  y  a  solas 
345  hacer  un  conjuro  tan  fuerte  que  los  haga  salir  mas  que  de 
paso.     Aunque  la  calidad  destos   demonios  mas  esta  en 
sabellos  aconsejar  que  en  conjurallos. 
fintrase  el  ESTUDIANTE. 

PANCRACIO.    Yo  digo  que  si  este  sale  con  lo  que  ha 
dicho,  que  sera  la  cosa  mas  nueva  y  mas  rara  que  se  haya 
ssovisto  en  el  mundo. 


LA   CUEVA  DE   SALAMANCA  23 

LEONARDA.  Si  saldra,  £  quien  lo  duda  ?  pues,  ^  ha- 
bianos  de  enganar  ? 

CRISTINA.  Ruido  anda  alia  dentro;  yo  apostare  que 
los  saca;  pero  ve  aqui  do  vuelve  con  los  demonios  y  el 
apatusco  de  la  canasta.  355 

[Salen  el  ESTUDIANTE,  el  SACRISTAN,  y  el  BARBERO.] 

LEONARDA.  j  Jesus  !  j  que  parecidos  son  los  de  la 
carga  al  sacristan  Reponce  y  al  barbero  de  la  plazuela  ! 

CRISTINA.  Mira,  senora,  que  donde  hay  demonios  no 
se  ha  de  decir  «  Jesus.  » 

SACRISTAN.     Digan   lo   que    quisieren;    que    nosotros36o 
somos  como  los  perros  del  herrero,  que  dormimos  al  son 
de  las  martilladas:   ninguna  cosa  nos  espanta  ni  turba. 

LEONARDA.  Lleguense  a  que  yo  coma  de  lo  que  viene 
de  la  canasta,  no  tomen  menos. 

ESTUDIANTE.    Yo  hare  la  salva,  y  comenzare  por  el  vino.  365 
Bebe.     Bueno  es.     <; Es  de  Esquivias,  seftor  sacri  .  .  . 
diablo  ? 

SACRISTAN.     De  Esquivias  es,  j  juro  a  .  .  . ! 

ESTUDIANTE.     j  Tengase,   por  vida  suya,   y  no  pase 
adelante !     j  Amiguito    soy    yo    de    diablos     juradoresU?© 
Demonico,  demonico,  aqui  no  venimos  a  hacer  pecados 
mortales,  sino  a  pasar  una  hora  de  pasatiempo,  y  cenar, 
y  irnos  con  Cristo. 

CRISTINA.     <;  Y  estos  han  de  cenar  con  nosotros  ? 

PANCRACIO.     Si,  que  los  diablos  no  comen.  375 

BARBERO.  Si  comen  algunos,  pero  no  todos;  y  nos- 
otros somos  de  los  que  comen. 

CRISTINA.  ;  Ay,  senores !  quedense  aca  los  pobres 
diablos,  pues  han  traido  la  cena;  que  seria  poca  cortesia 
dejarlos  ir  muertos  de  hambre;  y  parecen  diablos 
honrados,  y  muy  hombres  de  bien. 


24  TEN   SPANISH   FARCES 

LEONARDA.     Como  no  nos  espanten,  y  si  mi  marido 
gusta,  quedense  en  buen  hora. 

PANCRACIO.    Queden,  que  quiero  ver  lo  que  nunca  he 
385  visto. 

BARBERO.    Nuestro   Senor  pague  a  vuesas  mercedes 
la  buena  obra,  senores  mios. 

CRISTINA.     j  Ay,    que    bien    criados,    que    corteses ! 
Nunca  medre  yo,  si  todos  los  diablos  son  como  estos,  si 
390  no  han  de  ser  mis  amigos  de  aqui  adelante. 

SACRISTAN.    Oigan,   pues,   para  que  se  enamoren  de 
veras: 

Toca  el  SACRISTAN,  y  canta;  y  ayudale  el  BARBERO  con 
el  ultimo  verso  no  mds. 

Oigan  los  que  poco  saben 
lo  que  con  mi  lengua  franca 

395  digo  del  bien  que  en  si  tiene  .  . . 

BARBERO.        La  Cueva  de  Salamanca. 
SACRISTAN.         Oigan  lo  que  dejo  escrito 
della  el  bachiller  Tudanca 
en  el  cuero  de  una  yegua 
4oo  que  dicen  que  fue  potranca, 


poniendo  sobre  las  nubes  .  . . 
BARBERO.        La  Cueva  de  Salamanca. 

405     SACRISTAN.         En  ella  estudian  los  ricos 
y  los  que  no  tienen  blanca, 
y  sale  entera  y  rolliza 
la  memoria  que  esta  manca. 
Sientanse  los  que  alii  ensenan 

4IO  de  alquitran  en  una  banca; 

porque  estas  bombas  encierra  . . . 


LA  CUEVA  DE   SALAMANCA  2$ 

BARBERO.       La  Cueva  de  Salamanca. 
SACRISTAN.         En  ella  se  hacen  discretes 

los  moros  de  la  palanca; 

y  el  estudiante  mas  burdo  415 

ciencias  de  su  pecho  arranca. 

A  los  que  estudian  en  ella 

ninguna  cosa  les  manca. 

Viva,  pues,  siglos  eternos  .  .  . 

BARBERO.        La  Cueva  de  Salamanca.  4*0 

SACRISTAN.         Y  nuestro  conjurador, 

si  es,  a  dicha,  de  Loranca, 

tenga  en  ella  cien  mil  vides 

de  uva  tinta  y  de  uva  blanca; 

y  al  diablo  que  le  acusare,  4*5 

que  le  den  con  una  tranca, 

y  para  el  tal  jamas  sirva  .  .  . 
BARBERO.       La  Cueva  de  Salamanca. 

CRISTINA.  Basta;  <i  que  tambien  los  diablos  son 
poetas  ?  430 

BARBERO.    Y  aun  todos  los  poetas  son  diablos. 

PANCRACIO.  Digame,  senor  mio,  pues  los  diablos  lo 
saben  todo,  £  donde  se  inventaron  todos  estos  bailes 
de  las  Zarabandas,  Zambapalo,  y  Dello  Me  Pesa,  con  el 
famoso  del  nuevo  Escarraman  ?  435 

BARBERO.  ,:  Adonde?  en  el  infierno;  alii  tuvieron  su 
origen  y  principio. 

PANCRACIO.    Yo  asi  lo  creo. 

LEONARDA.    Pues  en  verdad,  que  tengo  yo  mis  puntas 
y  collar  escarramanesco;    sino  que,  por  mi  honestidad, 
por  guardar  el  decoro  a  quien  soy,  no  me  atrevo  a  bailarle. 

SACRISTAN.     Con  cuatro  mudanzas  que  yo  le  ensenase 


26  TEN   SPANISH  FARCES 

a  vuesa  merced  cada  dia,  en  una  semana  saldria  unica  en 

el  baile;  que  se  que  le  falta  bien  poco. 
445     ESTUDIANTE.    Todo  se  andara;   por  agora  entremonos 

a  cenar,  que  es  lo  que  importa. 
PANCRACIO.    Entremos;    que  quiero  averiguar  si  los 

diablos  comen  o  no,  con  otras  cien  mil  cosas  que  dellos 

cuentan;  y  por  Dios,  que  no  ban  de  salir  de  mi  casa  hasta 
450  que  me  dejen  ensenado  en  la  ciencia  y  ciencias  que  se 

ensenan  en  La  Cueva  de  Salamanca. 


ENTREMES    DE 

LOS  DOS  HABLADORES 

Y    EL 

ENTREMES  DE  REFRANES 

ATRIBUfDOS  A 

MIGUEL  DE   CERVANTES   SAAVEDRA 
1547-1616 


ENTREMfiS  DE 

LOS    DOS    HABLADORES 

[HABLAN  LAS   PERSONAS   SIGUIENTES:] 

UN  PROCURADOR.  INES,  criada. 

SARMIENTO.  UN  ALGUACIL. 

ROLDAN.  ESCRIBANO. 

DONA  BEATRIZ.  CORCHETE. 

Sale  un  PROCURADOR,  y  SARMIENTO,  y  detras  ROLDAN, 
en  habito  roto,  cuera,  espada,  y  calcillas. 

SARMIENTO.  Tome,  senor  procurador,  que  ahi  van 
los  docientos  ducados;  y  doy  palabra  a  vuesa  merced  que, 
aunque  me  costara  cuatrocientos,  holgara  que  fuera  la 
cuchillada  de  otros  tantos  puntos. 

PROCURADOR.    Vuesa  merced  ha  hecho  como  caballero     5 
en  darsela,  y  como  cristiano  en  pagarselo.    Yo  llevo  el 
dinero,  contento  de  que  me  descanse  y  el  se  remedie. 

ROLDAN.     j  Ah,  caballero  !     <i  Es  vmd.  procurador  ? 

PROCURADOR.     <i  Que  es  lo  que  manda  vmd.  ? 

ROLDAN.     <J  Que  dinero  es  ese  ?  10 

PROCURADOR.  Damele  este  caballero,  para  pagar  la 
parte  a  quien  dio  una  cuchillada  de  doce  puntos. 

ROLDAN.     ,;  Y  cuanto  es  el  dinero  ? 

PROCURADOR.    Docientos  ducados. 

ROLDAN.    Vaya  vuesa  merced  con  Dios.  15 

PROCURADOR.     Dios  guarde  a  vmd.  [Fase.] 

29 


30  TEN   SPANISH  FARCES 

ROLDAN.     j  Ah,  caballero  ! 

SARMIENTO.     ^  A  mi,  gentilhombre  ? 

ROLDAN.    A  vmd.  digo. 
20      SARMIENTO.     <[  Y  que  es  lo  que  manda  ? 

ROLDAN.    Ciibrase  vmd.;   que  no  hablare  palabra. 

SARMIENTO.    Ya  estoy  cubierto. 

ROLDAN.  Senor  mio,  yo  soy  un  pobre  hidalgo,  aunque 
me  he  vis  to  en  honra;  tengo  necesidad,  y  he  sabido  que 
25  vmd.  ha  dado  a  un  hombre  ducientos  ducados,  a  quien 
habia  dado  una  cuchillada;  y,  por  si  vmd.  tiene  deleite 
en  darlas,  vengo  a  que  vmd.  me  de  una  donde  fuere 
servido;  que  yo  lo  hare  con  cincuenta  ducados  menos  que 
otro. 

30  SARMIENTO.  Si  no  estuviera  tan  mohino,  me  obli- 
gara  a  reir.  <J  Vmd.  dicelo  de  veras  ?  Pues  venga  aca. 
i  Piensa  que  las  cuchilladas  se  dan  sino  a  quien  las  merece  ? 

ROLDAN.     Pues  <J  quien  las  merece  como  la  necesidad  ? 

<J  No  dicen  que   tiene  cara  de  hereje  ?     Pues   £  donde 

35  estara  mejor  una  cuchillada  que  en  la  cara  de  un  hereje  ? 

SARMIENTO.  Vmd.  [no]  debe  ser  muy  leido;  queelpro- 
verbio  latino  no  dice  sino  que  neces[s~\Uas  caret  lege,  que 
quiere  decir  que  la  necesidad  carece  de  ley. 

ROLDAN.     Dice  muy  bien  vmd.;   porque  la  ley  fue  in- 

40  ventada  para  la  quietud,  y  la  razoh  es  el  alma  de  la  ley; 

y  quien  tiene  alma,  tiene  potencias;  tres  son  las  potencias 

del  alma:    memoria,  voluntad,  y  entendimiento.     Vmd. 

tiene  muy  buen  entendimiento;  porque  el  entendimiento 

se  conoce  en  la  fisonomia,  y  la  de  vmd.  es  perversa,  por 

45  la  concurrencia  de  Saturno  y  Jupiter;  aunque  Venus  le 

mira  en  cuadrado,  en  la  decanoria  del  signo  ascendente 

por  el  horoscope. 

SARMIENTO.     j  El  diablo  aca  me  trujo !     \  Esto  es  lo 


LOS   DOS   HABLADORES  31 

que  yo  habia  menester,  despues  de  haber  pagado  docientos 
ducados  por  esta  cuchillada  !  so 

ROLDAN.  <J  Cuchillada  dijo  vmd.  ?  Esta  bien  dicho. 
Cuchillada  fue  la  que  dio  Cain  a  Abel,  su  hermano,  aunque 
entonces  no  habia  cuchillos;  cuchillada  fue  la  que  dio 
Alejandro  Magno  a  la  reina  Pantasilea,  sobre  quitalle  a 
Zamora  la  bien  cercada;  y  asimismo  Julio  Cesar  al  conde  55 
don  Pedro  Anzures,  sobre  el  jugar  a  las  tablas  con  don 
Gaiferos  entre  Cabanas  y  Olias.  Pero  advierta  vmd. 
que  las  heridas  se  dan  de  dos  maneras;  porque  hay 
traicion  y  alevosia:  la  traicion  se  comete  al  rey,  y  la  ale- 
vosia  contra  los  iguales;  por  las  armas  lo  han  de  ser;  y  60 
si  yo  rifiere  con  ventaja  .  .  .  porque  dice  Carranza  en  su 
Filosofia  de  la  espada,  y  Terencio  en  la  Conjuration  de 
Catilina.  .  . 

SARMIENTO.     j  Vayase  con  el  diablo,  que  me  lleva  sin 
juicio  !     <:  No  echa  de  ver  que  me  dice  bernardinas  ?        65 

ROLDAN.  Bernardinas  dijo  vmd.,  y  dijo  muy  bien; 
porque  es  muy  lindo  nombre,  y  una  mujer  que  se  llamase 
Bernardina,  estaba  obligada  a  ser  monja  de  San  Bernardo; 
porque  si  se  llamase  Francisca,  no  podia  ser;  que  las 
Franciscas  tienen  cuatro  efes,  y  la  F  es  una  de  las  letras  70 
del  A.  B.  C.;  las  letras  del  A.  B.  C.  son  veinte  y  tres;  la 
K  sirve  en  castellano  cuando  somos  nifios  .  .  . ;  dos  veces 
pueden  ser  de  vino;  el  vino  tiene  grandes  virtudes;  no  se 
ha  de  tomar  en  ayunas,  ni  aguado;  porque  las  partes  raras 
del  agua  penetran  los  poros  y  se  le  suben  al  cerebro,  y  en-  75 
trando  puros  . .  . 

SARMIENTO.    Tengase,  que  me  ha  muerto,  y  pienso  que 
algiin  demonio  tiene  revestido  en  esa  lengua. 

ROLDAN.    Dice  vmd.  muy  bien;    porque  quien    tiene 
lengua  a  Roma  va.    Yo  he  estado  en  Roma  y  en  la  80 


32  TEN   SPANISH  FARCES 

Mancha,  en  Transilvania  y  en  la  Puebla  de  Montal- 
van.  Montalvan  era  un  castillo,  de  donde  era  seftor 
Reinaldos.  Reinaldos  era  uno  de  los  doce  Pares  de 
Francia,  y  de  los  que  comian  con  el  emperador  Carlo 

85  Magno  en  la  mesa  redonda;  porque  no  era  cuadrada  ni 
ochavada.  En  Valladolid  hay  una  placetilla  que  llaman 
el  Ochavo.  Un  ochavo  es  la  mitad  de  un  cuarto;  un 
cuarto  se  compone  de  cuatro  veces  un  maravedi;  el 
maravedi  antiguo  basta  tanto  como  agora  un  escudo. 

90  Dos  maneras  hay  de  escudos:  hay  escudos  de  paciencia, 
y  hay  escudos  .  .  . 

SARMIENTO.     j  Dios  me  la  de  para  sufrille  !     j  Tengase, 
que  me  lleva  perdido  ! 

ROLDAN.     Perdido  dijo  vmd.,  y  dijo  muy  bien;  porque 

95  el  perder  no  es  ganar.  Hay  siete  maneras  de  perder:  per- 
der  al  juego,  perder  la  hacienda,  el  trato,  perder  la  honra, 
perder  el  juicio,  perder  por  descuido  una  sortija  o  un 
lienzo,  perder  .  .  . 

SARMIENTO.     j  Acabe,  con  el  diablo  ! 

ioo  ROLDAN.  Diablo  dijo  vmd.,  y  dijo  muy  bien;  porque 
el  diablo  nos  tienta  con  varias  tentaciones;  la  mayor  de 
todas  es  de  la  carne.  La  carne  no  es  pescado;  el  pescado 
es  flemoso;  los  flematicos  no  son  colericos.  De  cuatro 
elementos  esta  compuesto  el  hombre:  de  colera,  sangre, 

xosy  flema,  y  melancolia;  la  melancolia  no  es  alegria,  porque 
el  alegria  consiste  en  tener  dineros;  los  dineros  hacen  a  los 
hombres;  los  hombres  no  son  bestias;  las  bestias  pacen; 
y  finalmente  .  .  . 

SARMIENTO.     Y  finalmente,  me  quitara  vmd.  el  juicio, 

noo  poco  podra;  pero  le  suplico  en  cortesia  me  escuche  una 
palabra,  sin  decirme  lo  que  es  palabra,  que  me  cair6 
muerto. 


LOS   DOS   HABLADORES  33 

ROLDAN.     ,1  Que  manda  vmd.  ? 

SARMIENTO.  Senor  mio,  yo  tengo  una  mujer,  por  mis 
pecados,  la  mayor  habladora  que  se  ha  vis  to  desde  que  115 
hubo  mujeres  en  el  mundo.  Es  de  suerte  lo  que  habla, 
que  yo  me  he  visto  muchas  veces  resuelto  a  matalla  por 
las  palabras,  como  otros  por  las  obras.  Remedios  he 
buscado;  ninguno  ha  sido  a  proposito.  A  mi  me  ha  pare- 
cido  que,  si  yo  llevase  a  vmd.  a  mi  casa,  y  hablase  con  120 
ella  seis  dias  ar[jjeo,  que  la  pondria  de  la  manera  que 
estan  los  que  comienzan  a  ser  valientes  delante  de  los 
que  ha  muchos  dias  que  lo  son.  Vengase  vmd.  comigo, 
suplicoselo;  que  yo  quiero  fingir  que  vmd.  es  mi  primo, 
y  con  este  achaque  tendre  a  vmd.  en  mi  casa.  125 

ROLDAN.  <j  Primo  dijo  vmd.  ?  j  Oh,  que  bien  que 
dijo  vmd. !  Primo  decimos  al  hijo  del  hermano  de 
nuestro  padre;  primo,  a  un  zapatero  de  obra  prima; 
prima  es  una  cuerda  de  una  guitarra;  la  guitarra  se 
compone  de  cinco  or  denes;  las  ordenes  mendicantes  son  130 
cuatro;  cuatro  son  los  que  no  llegan  a  cinco;  con  cinco 
estaba  obligado  a  renir  antiguamente  el  que  desafiaba 
de  comun;  como  se  vio  en  don  Diego  Ordonez  y  los  hijos 
de  Arias  Gonzalo,  cuando  el  rey  don  Sancho  .  .  . 

SARMIENTO.     j  Tengase,  tengase  por  Dios !  y  vengase  135 
comigo;   que  alia  dira  lo  demas. 

ROLDAN.  Gamine  delante  vmd.,  que  yo  le  pondre 
esa  mujer  en  dos  horas  muda  como  una  piedra;  porque  la 
piedra  .  .  . 

SARMIENTO.    No  le  oire  palabra.  140 

ROLDAN.    Pues  camine,  que  yo  le  curare  a  su  mujer. 

Vase  SARMIENTO,  y  ROLDAN,  y  sale  DONA  BEATRIZ,  y 
INES,  su  driada. 


34  TEN  SPANISH  FARCES 

BEATRIZ.  j  Ines  !  j  Hola,  Ines  !  £  Que  digo  ?  j  Ines,  Ines ! 
INES.     Ya  oigo,  senora,  senora,  senora. 
BEATRIZ.     j  Bellaca,  desvergonzada  !     «{  Como  me  res- 
145  pondeis  vos  con  ese  lenguaje  ?     <i  No  sabeis  vos  que  la 
vergiienza  es  la  principal  joya  de  las  mujeres  ? 

INES.     Vuesa  merced,  por  hablar,  cuando  no  tiene  de 
que,  me  llama  docientas  veces. 

BEATRIZ.     Picara,  el  numero  de  docientos  es  numero 
150  mayor,  debajo   del  cual  se  pueden   en  tender  docientos 
mil,  anadiendole  ceros;  los  ceros  no  tienen  valor  por  si 
mismos  .  .  . 

INES.     Senora,  yo  lo  tengo  entendido;    digame  vmd. 
lo  que  tengo  de  hacer,  porque  haremos  prosa. 
155     BEATRIZ.     Y  la  prosa  es  para  que  traigais  la  mesa, 
para  que  coma  vuestro  amo;    que  ya  sabeis  que  anda 
mohino,  y  una  mohina  en  un  casado  es  causa  de  que 
levante  un  garrote,  y,  comenzando     or  las  criadas,  re- 
mate  con  el  ama. 
160     INES.     Pues  <i  hay  mas  de  sacar  la  mesa  ?    Voy  volando. 

Salen  SARMIENTO  y  ROLDAN. 

SARMIENTO.     j  Hola !    £  No  esta  nadie  en  esta  casa  ? 
j  Dona  Beatriz  !     j  Hola  ! 

BEATRIZ.     Aqui  estoy,  sefior.     <i  De  que  venis  dando 
voces  ? 

165  SARMIENTO.  Mirad  que  traigo  este  caballero,  soldado 
y  pariente  mio,  convidado.  Acariciadle  y  regaladle 
mucho,  que  va  a  pretender  a  la  corte. 

BEATRIZ.     Si  vmd.  va  a  la  corte,  lleve  advertido  que 

la  corte  no  es  para  Carlos  tan  encogido;    porque  el  en- 

170  cogimiento  es  linaje  de  boberia,  y  el  bobo  esta  cerca  de 

ser  desvalido,  y  lo  merece;  porque  el  entendimiento  es 

luz  de  las  acciones  humanas,  y  toda  la  action  consiste  .  . 


LOS   DOS   HABLADORES  35 

ROLDAN.  Quedo,  quedo,  suplico  a  vmd.,  que  bien  se 
que  consiste  en  la  disposicion  de  la  naturaleza;  porque  la 
naturaleza  obra  por  los  instrumentos  corporales,  y 
disponiendo  los  sentidos.  Los  sentidos  son  cinco:  andar, 
tocar,  cor[Y]er,  y  pensar,  y  no  estorbar.  Toda  persona 
que  estorbare  es  de  ignorantes,  y  la  ignorancia  consiste  en 
no  caer  en  las  cosas.  Quien  cae  y  se  levanta,  Dios  le  da 
buenas  Pascuas.  Las  Pascuas  son  cuatro:  la  de  Navidad,  180 
la  de  Reyes,  la  de  Flores,  y  la  de  Pentecostes.  Pentecostes 
es  un  vocablo  exquisito. 

BEATRIZ.  <i  Como  exquisito  ?  Mai  sabe  vmd.  de 
exquisites.  Toda  cosa  exquisita  es  extraordinaria.  La 
ordinaria  no  admira.  La  admiracion  nace  de  cosas  altas.  185 
La  mas  alta  cosa  del  mundo  es  la  quietud,  porque  nadie 
la  alcanza.  La  mas  baja  es  la  malicia,  porque  todos 
caen  en  ella.  El  caer  es  forzoso,  porque  hay  tres  esta- 
dos  en  todas  cosas:  el  principio,  el  aumento,  y  la  declina- 
tion ...  190 

ROLDAN.  Declination  dijo  vmd.,  y  dijo  muy  bien; 
porque  los  nombres  se  declinan,  los  verbos  se  conjugan,  y 
los  que  se  casan  se  llaman  con  este  nombre ;  y  los  casados 
son  obligados  a  quererse,  amarse  y  estimarse,  como  lo 
manda  la  Sancta  Madre  Iglesia;  y  la  razon  desto  es  .  .  .195 

BEATRIZ.  Paso,  paso.  <i  Que  es  esto,  marido?  i  Te- 
neis  juicio  ?  •  <J  Que  hombre  es  este  que  habeis  traido  a 
mi  casa  ? 

SARMIENTO  [_aparte].     (\  Por  Dios  !  que  me  huelgo  que 
he  hallado  con  que  esquitarme.)    [A  BeatrizJ]    Dad  aca2oo 
la  mesa  presto,  y  comamos;  que  el  senor  Roldan  ha  de  ser 
huesped  mio  seis  o  siete  anos. 

BEATRIZ.  ,;  Siete  anos  ?  j  Malos  anos  !  j  Ni  un  hora, 
que  reventare,  marido ! 


36  TEN   SPANISH  FARCES 

205     SARMIENTO.    £l  era  harto  mejor  para  serlo  vuestro. 
i  Hola  !     j  Dad  aca  la  comida! 
INES.     <:  Convidados  tenemos  ?    Aqui  esta  la  mesa. 
ROLDAN.     <;  Quien  es  esta  sefiora  ? 
SARMIENTO.    Es  criada  de  casa. 

210  ROLDAN.  Una  criada  se  llama:  en  Valencia,  fadrina; 
en  Italia,  masara;  en  Francia,  gaspirria;  en  Alemania, 
filimoquia;  en  la  corte,  sirvienta;  en  Vizcaya,  moscorra; 
y  entre  picaros,  daifa.  Venga  la  comida  alegremente, 
«que  quiero  que  vuesas  mercedes  me  vean  comer  al  uso 
215  de  la  Gran  Bretana. 

BEATRIZ.     Aqui  no  hay  que  hacer  sino  perder  el  juicio, 
marido;   que  reviento  por  hablar. 

ROLDAN.    Hablar  dijo  vmd.    Dijo  muy    bien;     ha- 
blando  se  entienden  los  conceptos.     Estos  se  forman  en 
220 el  entendimiento.     Quien  no  entiende,  no  siente.    Quien 
no  siente,  no  vive.     El  que  no  vive,  es  muerto.    Un 
muerto,  echarle  en  un  huerto. 
BEATRIZ.     ;  Marido,  marido  ! 
SARMIENTO.     ^  Que  quereis,  mujer  ? 

225     BEATRIZ.    Echadme  de  aqui  este  hombre  con  los  dia- 
blos;  que  reviento  por  hablar. 

SARMIENTO.     Mujer,  tened  paciencia;  que,  hasta  cum- 
plidos  los  siete  anos,  no  puede   salir  de  aqui;   porque 
he  dado  mi  palabra,  y  estoy  obligado  a  cumplirla,  o  no 
230  sere  quien  soy. 

BEATRIZ.     £  Siete  anos  ?     j  Primero  vere  yo  mi  muerte  ! 
j  Ay,  ay,  ay  !  [Desmdyase^] 

IN£S.     Desmayose.     ^  Esto  quiere  ver  vuesa  merced 
delante  de  sus  ojos  ?    Vela  ahi,  muerta. 
235     ROLDAN.     \  Jesus  !     «J  De  que  le  ha  dado  este  mal  ? 
SARMIENTO.    De  no  hablar.  Dentro  la  Justicia. 


LOS   DOS  HABLADOKES  37 

ALGUACIL.  \  Abran  aqui  a  la  Justicia,  abran  a  la 
Justicia ! 

ROLDAN.     ;  La  Justicia !    j  Ay,  triste  de  mi !  que  yo 
ando  huido,  y,  si  me  conocen,  me  ban  de  llevar  a  la  240 
carcel. 

SARMIENTO.  Pues,  senor,  el  remedio  es  meterse  en 
esta  estera  vmd.,  que  las  habian  quitado  para  limpiarlas, 
y  asi  se  podra  librar;  que  yo  no  hallo  otro. 

Metese  en  la  estera  ROLDAN,  y  salen  el  ALGUACIL,  Es- 

CRIBANO,    y    CORCHETE. 

ALGUACIL.     <J  Era  para  hoy  el  abrir  esta  puerta  ?        245 

SARMIENTO.  <J  Que  es  lo  que  vmd.  manda,  que  tan 
furioso  viene? 

ALGUACIL.    El  senor  Gobernador  manda  que,  no  ob- 
stante  que  vmd.  ha  pagado  los  docientos  ducados  de 
esa  cuchillada,  venga  vmd.  a  darle  la  mano  a  ese  horn- 250 
bre,  y  se  abracen  y  scan  amigos. 

SARMIENTO.    Queria  comer  agora. 

ESCRIBANO.  El  hombre  esta  aqui  junto,  y  luego  se 
volvera  vmd.  a  comer  de  espacio. 

SARMIENTO.     Vamos;    y  entretanto,  poned  la  mesa.  255 
[Vanse  SARMIENTO,  e£ ALGUACIL, ESCRIBANO,  y  CORCHETE.] 

INES.  Vuelve  en  ti,  senora;  que,  si  de  no  hablar  te 
has  desmayado,  agora  que  estas  sola,  hablaras  cuanto 
quisieres. 

BEATRIZ.  Gracias  a  Dios,  que  agora  descansare  del 
silencio  que  he  tenido.  260 

Saca  ROLDAN  la  cabeza,  y,  mirando  a  DONA  BEATRIZ, 
dice: 

ROLDAN.  Silencio  dijo  vuesa  merced,  y  dijo  muy  bien; 
porque  el  silencio  fue  siempre  alabado  de  los  sabios;  y 


38  TEN   SPANISH  FARCES 

los  sabios  hablan  a  tiempos,  y  callan  a  tiempos;  porque 
hay  tiempos  de  hablar  y  tiempos  de  callar;  y  quien  calla, 
26sotorga;  y  el  otorgar  es  de  escrituras;  y  una  escritura  ha 
menester  tres  testigos,  y,  si  es  de  testamento  cer[r]ado, 
siete;  porque  .  .  . 

BEATRIZ.     Porque  el  diablo  se  lleve  el  hombre,  y  quien 
aca  lo  trujo.     <i  Hay  tan  gran  bellaqueria  ?    Yo  vuelvo  a 
270  desmayarme. 

Vuelven  a  salir  todos. 

SARMIENTO.  Ya  que  se  han  hecho  las  amistades, 
quiero  que  vuesas  mercedes  beban  con  una  caja.  j  Hola  ! 
Dad  aca  la  cantimplora  y  aquella  perada. 

BEATRIZ.     <;  Agora  nos  meteis  en  eso  ?     £  No  veis  que 
275  es  tamos  ocupados  sacando  estas  esteras  ?    Muestra  el  palo. 
Y  tu,  con  esotro,  demosles  hasta  que  queden  limpias. 

ROLDAN.  Paso,  paso,  sefioras;  que  bien  entendi  que 
hablaban  mucho,  pero  no  que  jugaban  de  mano. 

ALGUACIL.     j  Oigan  !     <J  Que  es  esto  ?     <i  No  es  aquel 
28obellaco  de  Roldanejo  el  hablador,  que  hace  las  maulas? 
ESCRIBANO.    El  mismo. 
ALGUACIL.     Sed  preso,  sed  preso. 
ROLDAN.    Preso  dijo  vmd.,  y  dijo  muy  bien;  porque  el 
preso  no  es  libre,  y  la  libertad  .  .  . 

285     ALGUACIL.    Que  no,  no;   aqui  no  ha  de  valer  la   ha- 
bladuria;  ;  vive  Dios  !  que  habeis  de  ir  a  la  carcel ! 

SARMIENTO.     Senor  Alguacil,  suplico  a  vmd.  que,  por 
haberse  hallado  en  mi  casa,  esta  vez  no  se  lleve;  que  le 
doy  palabra  a  vmd.  de  darle  con  que  se  vaya  del  lugar,  en 
29ocurandome  a  mi  mujer. 

ALGUACIL.    Pues  ,;  de  que  la  cura  ? 
SARMIENTO.    Del  hablar. 
ALGUACIL.    <j  Y  como  ? 


LOS   DOS   HABLADORES  39 

SARMIENTO.  Hablando;  porque,  como  habla  tan  to,  la 
enmudece.  295 

ALGUACIL.  Soy  contento,  por  ver  esemilagro;  pero  ha 
de  ser  con  condition  que,  si  la  diere  sana,  me  avise  vmd. 
luego,  porque  le  lleve  a  mi  casa;  que  tiene  mi  mujer  la 
propia  enfermedad,  y  me  holgaria  que  me  la  curase  de 
una  vez.  300 

SARMIENTO.    Yo  avisare  con  lo  que  hubiere. 
ROLDAN.    Yo  se  que  la  dejare  bien  curada. 
ALGUACIL.     j  Vete,  picaro  hablador  ! 
SARMIENTO.    No  me  desagrada  el  verso. 
ALGUACIL.    Pues,  si  no  le  desagrada,  oiga,  que  yo  tengoaos 
alguna  instancia  de  poesia. 

ROLDAN.  j  Oiga !  <;  Poesia  han  dicho  vuesas  mer- 
cedes  ?  Pues  reparo  que  por  Dios,  que  la  han  de  llevar 
de  pufio. 

Hacense  unos  a  otros  la  salva,  y  van  diciendo  las  glosas. 
ALGUACIL.          La  condition  del  hablar  310 

mas  parece  tentacion 
de  quien  nos  suele  ten  tar; 
ni  puede  ser  condition 
en  hombre  que  es  muladar. 
Parte  a  servir  de  atambor  315 

con  esa  lengua,  embaidor; 
y  pues  con  mayor  ruido 
suenas  a  un  discrete  oido, 
Vete,  picaro  hablador. 

ESCRTBANO.        Despues  de  muerto  se  yo  320 

que  han  de  ponerse  en  lugar 
de  epitafio:  «  Aqui  murio 
quien,  muerto,  no  ha  de  callar 
tanto  como,  vivo,  habl6.» 


40  TEN   SPANISH  FARCES 

325     INKS.    Esa  quiero  yo  acabar. 
ESCRIBANO.     Diga,  veamos. 
INES.  y  pues  de  hablar  el  rigor 

a  un  muerto  pone  temor, 
a  un  monte,  donde  a  ninguno 
330  seas,  hablando,  importune, 

Vete,  plcaro  hablador. 
SARMIENTO.    Va  la  mia: 

i  Oh  tu,  que  hablaste  por  veinte, 
y  hablaste  por  veinte  mil .  .  . ! 
335     BEATRIZ.         Yo  la  acabare,  detente. 
ROLDAN.         Por  hablar,  traza  sutil. 
BEATRIZ.         Repare,  senor  pariente: 
Vete  a  donde  tu  rumor 
no  suene  para  tu  mengua: 
340  y,  pues  se  sabe  tu  flor, 

vete,  enfermo  de  la  lengua, 
Vete,  picaro  hablador. 

ROLDAN.    Oigan  y  reparen  vuesas  mercedes,  que  no 
sera  peor  la  mia: 

345  Aqui  he  venido  a  curar 

una  mujer  habladora, 
que  nunca  supo  callar, 
a  quien  pienso  desde  agora 
enmudecer  con  hablar. 
350  Convidome  este  senor, 

y  comence  yo  en  rigor, 
aunque  diga  su  mujer, 
por  no  me  dar  de  comer: 
Vete,  ptcaro  hablador. 

Vanse  todos,  ddndose  vaya,  con  que  se  da  fin. 


ENTREMES   DE   REFRANES 


SON   FIGURAS: 

PEDRAZA,  galdn.  DONA  SoitA. 

ALVARADO,  vejete.          DONA  CASILDA. 

MtJSICOS 

Salen  DONA  SOFIA  y  PEDRAZA,  galdn. 

PEDRAZA 

(i)  Quien  nocreeen  buena  madre,cree  en  malamadrastra. 
(2)  Pense  yo,  senora  dona  Sofia,  que  pescaba  bogas  y  que 
tenia  (3)  trapillo  con  diner os  en  amartelar  a  vuesa  merced; 
y  al  fin  he  visto  que  (4)  la  mejor  mujer,  mujer;  pues  me 
deja  (5)  como  el  camera  encantado  quefue  por  lana  y  wlvio  5 
tresquilado. 

DONA  SOFIA 

(6)  Mas  es  el  ruido  que   las  nueces,  sefior   Pedraza. 

(7)  No    diga    vuesa    merced    esta    boca    es    mia,     sino 

(8)  punto  en  boca;  y  si  no,  (9)  tome  las  de  Vttladiego,  y 
(10)  no  piense  que  me  hace  los  hijos  caballeros;  que  ya  10 
esta  pobre,  y  (u)  de  costal  sacudido,  nunca  buen  bodigo. 

PEDRAZA 

(12)  Cria  el  cuervo,  sacarte  ha  el  ojo.  He  gastado  con 
vuesa  merced  mis  blanquillas,  que  (13)  no  me  ha  que- 
dado  estaca  en  pared;  y  cuando  pense  que  vuesa  merced 

41 


42  TEN   SPANISH   FARCES 

15  se  moria  por  mi,  (14)  como  gavildn  por  rdbanos,  (15)  me 
da  con  la  puerta  en  los  ojos;  que  (16)  mujer,  viento  y  ven- 
tura,  presto  se  muda.  No  puedo  dejar  de  sentillo;  que 
(17)  quien  juega  y  pierde,  fuerza  es  que  reniegue. 

DONA  SOFIA 

(18)  Agua  pasada  no  muele  molino,  cuanto  y  mas  que 

20  no  me  ha  dado  nada;   que  (19)  esto  es  hacer  la  cuenta 

sin  la  huespeda;  y  (20)  todo  lo  que  se  gana  se  vuelve  sal 

y  agua;  y  (21)  tras,  Iras,  para  la  costa  no  mds.    Ni  el 

tenia  que  dar,  que  (22)  /  harto  trigo  tenia  mi  padre  en  el 

cdntaro!    Y  si  me  dio  algo,  no  habia  de  ser  yo  (23)  como 

25  el  sastre  del  Campillo,  que  cose  de  balde  y  pone  el  hilo;  que 

(24)  el  abad  de  donde  canta,  de  alii  yanta.    Vaya;    que 

(25)  quien  se  muda,  Dios  le  ayuda;  que  (26)  ya  pas 6  solia; 
y  no  quiero  ser  (27)  pescador  de  cana,  que  mds  come  que 
gana.  Sale  DONA  CASILDA 

DONA  CASILDA 

30  «J  Que  es  esto  ?  <J  Que  voces  son  estas  ?  que  (28)  quien 
mal  pleito  tiene  todo  lo  mete  a  wees.  Pero  ya  puedo 
(29)  sacar  por  el  hilo  el  ovillo;  y  (30)  pues  soy,  etc.,  quiero 
(31)  meter  mi  cucharada  y  poneros  en  paz;  aunque  (32)  mds 
sabe  el  loco  en  su  casa  que  el  cuerdo  en  la  ajena. 

DONA  SOFIA 

35  (33)  En  el  aldegilela  mds  mal  hay  del  que  se  suena. 
Aqui  estamos  (34)  tu  por  tu,  como  el  gaitero  del  aldea;  y 
(35)  como  canta  el  abad,  responde  el  monacillo;  y  (36)  perai 
mi  honor  diciendo  mal  y  oyendo  peor. 

PEDRAZA 

Senoras,  yo  quiero  responder,  que  (37)  a  quien  no  habia 
40  no  le  oye  Dios;  y  (38)  echemoslo  a  doce  y  nunca  se  venda,  que 


ENTREMES   DE   REFRANES  43 

(39)  no  piense  que  me  mamo  yo  el  dedo.  (40)  Yo  soy  un 
hidalgo  que  tengo  mi  piedra  en  el  rollo;  (41)  /  que  mundo, 
mundilloj  nacer  en  Granada  y  morir  en  Trujillo!  A  lo 
menos  soy  tan  bueno  como  esta  sefiora,  que  (42)  tal  para 
cual  casaron  en  Duenas.  Diome  entrada  en  su  casa,  que  45 
(43)  dddivas  quebrantan  penas.  Hela  sustentado  siete 
meses,  que  (44)  los  duelos  con  pan  son  buenos;  pero  (45)  la 
mucha  conversation  es  causa  de  menosprecio,  y  asi  agora  me 
despide  y  me  escupe;  que  (46)  /  Sancha,  Sancha,  bebes  el 
vino  y  dices  que  mancha!  so 

DONA  SOFIA 

(47)  A  palabras  locas,  orejas  sordas.  Diga  lo  que 
quisiere,  que  (48)  quien  no  miente,  no  viene  de  buena 
gente. 

DONA  CASILDA 

Ea,  no  hay  mas;  (49)  palabras  y  plumas,  el  viento  las  lleva. 
(50)  No  andeis  siempre  en  dares  y  tomares;  que  (51)  a  quien  55 
da  y  toma  Dios  le  da  una  corcova. 

PEDRAZA 

(52)  No  puede  ser  el  cuerw  mds  negro  que  sus  alas,  Yo 
tengo  de  (53)  andar  en  dimes  y  diretes  y  en  dares  y  tomares, 
aunque  Dios  me  de  dos  corcovas;  (54)  que  una  no  es  nin- 
guna;  y  siendo  muy  corcovado,  dire  lo  que  quisiere;  que  60 
(55)  a  quien  no  ha  mesura,  toda  la  tierra  es  suya.  Digo, 
sefiora,  que  (56)  escarba  la  gallina  por  su  mal.  Yo  anduve 
muchos  dias  por  vuesa  merced,  que  (57)  parto  largo,  hija 
al  cabo.  Pense  que  era  vuesa  merced  nueva;  pero  (58)  uno 
piensa  el  bayo  y  otro  el  que  lo  ensilla.  Quise  luego  dejalla,  65 
que  (59)  lo  que  otro  suda,  a  mi  poco  dura;  pero  reporteme, 
y  dije  entre  mi:  (60)  tal  te  quiero,  Crespa,  aunque  eres 
tinosa. 


44  TEN  SPANISH  FARCES 

DONA  SOFIA 
No  importa  no  ser  nueva;  (61)  mal  de  muchos,  gozo  es. 

PEDRAZA 

70  (62)  Yo  hice  orejas  de  mercader,  que  (63)  a  quien  dan, 
no  escoge;  pero  he  gastado  mucho  en  galas;  que  (64)  a 
gran  tocado,  chico  recado,  y  (65)  moza  galana,  calabaza 
vana. 

DONA  SOFIA 

Senor,  (66)  sufrir  cochura  por  hermosura;  porque  (67)  el 
75  dia  que  [no~\  me  afeite,  vino  a  mi  casa  quien  no  pense. 

PEDRAZA 

Pues  j  aqui  de  Dios !  si  yo  le  probe  que  (68)  en  casa 
llena  presto  se  guisa  la  cena,  si  yo  lo  sufro  todo,  que 
(69)  no  hay  peor  sordo  que  el  que  no  quiere  oir,  <:  por  que 
me  trata  mal  ?  (70)  De  amigo  a  amigo,  chinche  en  el  ojo. 
80  j  Valgalo  el  diablo  !  (71)  Mozas,  bailo  bien  i  y  echdisme 
del  corro  ? 

DONA  CASILDA 

Ea,  senora,  que  (72)  cuando  dos  no  quieren,  tres  no 
barajan;  (73)  .  .  .  que  (74)  rinas  de  por  San  Juan  son  paz 
para  todo  el  ano.  ;  Por  amor  de  Dios  !  dona  Sofia,  que 
8s  (75)  quiebre  la  soga  por  lo  mas  delgado,  y  que  querais 
mucho  al  senor  Pedraza,  que  (76)  malo  vendra  que  bueno 
me  hard;  y  (77)  callate  y  callemos,  que  sendas  nos  tenemos. 

PEDRAZA 

No  quiero  mas  voces;  que  (78)  a  cuentas  viejas,  barajas 
nuevas. 


ENTREMES  DE  REFRANES         45 

DONA  SOFIA 

(79)  De  conejo  ido,  el  consejo  venido.    Yo  no  le  quiero  go 
mal.   que   (80)    ojos  que  bien  se  quieren,   desde  lejos  se 
saludan;  pero,  pecadora  de  mi,  no  tiene  ya  un  cuarto, 
que  (81)  quien  tiene  cuatro  y  gasta  cinco,  no  ha  menester 
hocico.    Yo,  senora,  (82)  no  tengo  oficio  ni  beneficio.     Si 
quieres  que  te  lo  diga,  (83)  Pedraza  es  pobre  y  quiere  mujer.  95 
(84)  Aja  no  tiene  que  comer  y  convida  huespedes. 

DONA  CASILDA 

Senor  Pedraza,  (85)  $  de  que  sirve  andar  por  las  ramas  ? 
(86)  La  verdad  adelgaza,  mas  no  quiebra.     Vuesa  merced 
se  quede  con  Dios;  y  si  no  tiene  que  gastar,  (87)  purgalle 
y  sangralle,  y  si  muriese,  enterralle.    Esto  es  acabar  ra-ioo 
zones:  (88)  el  pan  comido,  la  compania  deshecha, 

PEDRAZA 

Vuesa  merced  se  quede  con  Dios,  que  (89)  a  puerta 
cerrada  el  diablo  se  vuelve.     (90)  No  quiero  mas  perro  con 
cencerro;  pero  advierta  que  (91)  de  lo  contado  come  el  lobo, 
y  que  (92)  aunque  mas  sabe  la  zorra,  mas  sabe  el  que  laios 
toma.  Vase  PEDRAZA. 

DONA  SOFIA 

(93)  /  Tormes,  Tormes,  por  donde  vienes,  nunca  tomes  I 
(94)  /  La  ida  del  humo  I  y  (95)  al  enemigo  que  huye,  la 
puente  de  plata. 

DONA  CASILDA 

(96)  Ya   estd   hecho;    (97)    paciencia    y  bar  ajar;   que  no 
(98)  el  huesped  y  el  pez,  a  dos  dias  huelen,  y  (99)  en  Madrid 
se  usa  descartar  al  pobre,  y  (100)  donde  fueres,  haz  como 
vieres.  Sale  ALVARADO  con  una  carta. 


46  TEN  SPANISH  FARCES 

ALVARADO 

(101)  La  diligencia  es  madre  de  la  buena  ventura;    y 

115  (102)  haz  bien,  y  no  cates  a  quien,  que  (103)  hoy  por  mi, 

y  manana  por  ti.    Esta  carta  traigo  de  las  Indias;  que 

aunque  dicen  que  (104)  mat   ajeno   de   pelo  cuelga,   he 

de  hacer  esta  diligencia;  que  (105)  coda  uno  hace  como 

quien  es.     \  Ah,   vuesa  merced  la  senora  dona   Sofia ! 

1 20  aunque  su  fama  la  hace  bien  conocida  .  .  .  pero  (106)  unps 

tienen  la  fama  y  otros  cardan  la  lana. 

DONA  SOFIA 
Yo  soy,  senor,  y  (107)  bien  haya  quien  a  los  suyos  parece. 

ALVARADO 

Senora,  mire;  yo  vengo  de  las  Indias  y  aunque  (108) 
de  largas  vias,  largas  mentiras,  vengo  para  decir  verdad 
125  y  hacer  (IOQ)  de  una  via  dos  mandados.  Vuesa  merced 
tenia  en  las  Indias  un  tio,  el  cual,  como  (no)  a  la  muerte 
no  hay  cosa  fuerte,  se  murio;  porque  (in)  quien  mas  no 
puede,  morirse  deja. 

DONA  SOFIA 

j  Ay  Dios !  mucho  me  pesa;  pero  (112)  el  muerto  a  la 
i&huesa,  y  el  vivo  a  la  hogaza. 

ALVARADO 

Este  caballero  la  dejo  a  vuesa  merced  mil  ducados,  que 
(113)  quien  no  hereda,  no  medra. 

DONA  SOFIA 

j  Ay  venturosa  yo,  que  a  tan  buena  coyuntura  (114) 
se  me  ha  caido  la  sopa  en  la  miel!    Dona  Casilda,  <J  que 
135  te  parece  ?    Muriose  mi  tio  y  me  dejo  por  su  heredera, 
que  (115)  prendas  de  garzdn  diner os  son. 


ENTREMES  DE  REFRANES  47 

DONA  CASILDA 

Verdaderamente  que  (116)  adonde  no  pieman,  salta  la 
liebre;  y  (117)  al  que  Dios  quiere  bien,  en  casa  le  trae  de 
comer. 

ALVARADO 

Senora  mia,   (118)  quien  bien  ata,  bien  desata.    Estei4o 
dinero  se  ha  de  dar  con  condition  que  vuesa  merced  este 
casada  o  se  case;    y  asi  lo  tengo  de  hacer,  porque  no 
digan  que:    (119)  adonde  no  estd  su  dueno,  alii  estd  su 
duelo. 

DONA  SOFIA 

j  Valgame  Dios  !  (120)  /  que  de  tUulillos!  (121)  ;  Achaques  145 
al  viernes  por  no  ayunar !    Ea,  senor,  de  vuesa  merced  ese 
dinero,  que  (122)  quien  da  luego,  da  dos  veces. 

ALVARADO 

Senora,  (123)  «  Mensajero  sois,  amigo;  non  merecedes 
culpa,  non.))  Vuesa  merced  se  case,  y  al  marido  dare 
el  dinero;  y  si  no,  (124)  escrlbase  en  el  agua;  que  (125)150 
mas  vale  vergiienza  en  cara  que  mancilla  en  corazon.  Yo 
volvere  por  la  respuesta;  que  (126)  a  buen  bocado,  buen 
grito.  Vase. 

DONA  SOFIA 

i  Ay,   dona  Casilda,  que  triste  que  quedo  !    que   no 
quisiera  casarme  ni  perder  este  dinero;    y  no  se  que  he  155 
de  hacer;  que  (127)  lo  que  es  bueno  para  el  higado  no  es 
bueno  para  el  bazo. 

DONA  CASILDA 

<s  De  eso  te  afliges?  (128)  Con  arte  y  engano  se  vive 
medio  ano;  y  con  engano  y  arte  la  otra  parte. 


48  TEN  SPANISH  FARCES 

DONA  SOFIA 

160     Pues  <i  que  te  parece  que  hagamos?  que  (129)  mds  ven 
cuatro  ojos  que  dos. 

DONA  CASILDA 

Busca  un  marido  fingido,  y  (130)  dure  lo  que  durare, 
como  cuchara  de  pan.     En  cobrando   ese   dinero,   (131) 
coda  lobo  por  su  senda;  que  (132)  en  la  casa  del  mezquino, 
165  mds  manda  la  mujer  que  no  el  marido. 

DONA  SOFIA 

j  Ay,  que  bien  dices  !  (133)  Mds  vale  saber  que  haber. 
Pero  <J  a  quien  haremos  que  sea  marido  fingido,  porque 
no  vengamos  (134)  de  rocin  a  ruin?  Sale  PEDRAZA. 

PEDRAZA 

(135)    Si  Mahoma  no  va  al  otero,  vaya  el  otero  a  Ma- 
ijohoma.     (136)    No  acierto  a  salir  desta  casa;   que   (137) 
amores  y  dolores  mal  se  pueden  encubrir. 

DONA  CASILDA 

i  Ay,  que  vuelve  Pedraza  !  Llega  y  rindete;  que  (138) 
el  hombre  es  fuego,  la  mujer  la  eslopa,  llega  el  diablo  y  sopla. 

DONA  SOFIA 

Vuelve  aca,  pan  perdido,  que  (139)  el  perro  con  rabia 
1 75  a  su  dueno  muerde. 

PEDRAZA,  aparte 

(<;  Que  es  aquesto  ?  Aqui  hay  algun  enredo.  (140) 
Del  agua  mansa  me  libre  Dios.)  £  Que  es  esto,  mi  sefiora 
dona  Sofia  ?  Vuesa  merced  se  ha  hecho  (141)  la  gatita  de 
Marirramos. 


ENTREMES  DE  REFRANES         49 

DONA  SOFIA 

Quiero  ya  mudar  de  condition;   porque  (142)  .  .  .;    yi8o 
quierote  pedir  que  digas  eres  mi  marido  (que  no  importa 
el  decillo;   que  (143)  del  dicho  al  hecho,  hay  gran  trecho), 
porque  me  importa  para  cobrar  mil  ducados;  porque  (144) 
al  buen  entendedor,  pocas  palabras. 

PEDRAZA 

j  Casarme  yo  !    (145)    /  A  otro  perro  con  ese  gtieso  !  que  185 
(146)  el  buey  suelto  bien  se  lame.      (147)     De  la  mala 
mujer  te  guarda,  y  de  la  buena  no  fies  nada;  mas  si  no 
es  mas  de  decillo,  yo  lo  dire;  que  (148)  boca  que  dice  de  sf, 
dira  de  no. 

DONA  SOFIA 

Pues  nosotras  vamos  a  prevenir  una  fiesta  como  deigo 
boda,  y  (149)  adids,  bien  mio.      Y  (150)  vfvame  esa  cara 
de  pascua  mil  anos;   que  (151)  a  quien  a  buen  drbol  se 
arrima,  buena  sombra  le  cobija.  Vanse  las  dos. 

PEDRAZA 

(152)     Quien  calla,  piedras  apana.     Estas  me  quieren 
enganar,  y  yo  las  tengo  de  ganar  por  la  mano;  que  (153)  195 
quien  hurta  al  ladron  cien  dias  gana  de  perddn. 

Sale  ALVARADO  con  el  dinero. 

ALVARADO 

Si  esta  mujer  no  se  casa,  no  la  tengo  de  dar  el  dinero. 
i  Oh,  sefior  Pedraza  !  huelgome  de  encontrarle  aqui;   que 
(154)  andff  entre  la  cruz  y  el  agua  bendita,  con  mil  du- 
cados que  he  de  dar  a  una  dona  Sofia;  y  pienso  que  (155)  200 
no  trae  bien  los  dedos  para  organista. 


SO  TEN  SPANISH  FARCES 

PEDRAZA 

j  Ah,  que  linda  ocasion  !  La  sopa  se  me  ha  caido  en  la 
mieL  Aqui  me  he  de  vengar  lindamente  con  vuestra 
ayuda;  que  (156)  del  lobo  siguiera  un  pelo. 

ALVARADO 

205     Haced  lo  que  quisieredes,  que  (157)  quien  calla,  otorga. 
Salen  DONA  SOFIA  y  DONA  CASILDA. 

DONA  CASILDA 

Ya  traemos  musicos  y  bailarines,  para  que  (158)  giiela 
la  casa  a  hombre;  que  (159)  cada  gallo  canta  en  su  muladar. 

DONA  SOFIA 

Pues  alii  viene  el  Indiano,  y  aqui  esta  ya  aguardando 

el  novio;   que  (160)    a  quien   madruga,  Dios  le  ayuda. 

2ioLlegue  vuesa  merced,  senor  Indiano,  que  el  senor  Pedraza 

es  ya  mi  marido,  que  mi  suerte  me  lo  dio.    (161)     Cada 

oveja  con  su  pareja. 

ALVARADO 

Yo  lo  creere,  si  lo  dice,  que  (162)  al  hombre  por  la 
palabra,  y  al  buey  por  el  cuerno. 

DONA   SOFIA 

215     No  diga  vuesa  merced  ese  nombre  en  dia  de  boda, 
que  (163)  al  enhornar  se  hacen  los  panes  tuertos. 

ALVARADO 
<i  No  responde  vuesa  merced,  senor  novio  ?  que  (164)  ... 

PEDRAZA 

Yo  soy  el  verdadero  marido;  pero  la  desposada  no 
duerme,  que  (165)  mujer  que  no  vela,  no  hace  larga  tela. 


ENTREMES  DE  REFRANES         51 

ALVARADO 

Pues  si  vuesa  merced  es  el  marido,  tome  estos  mil  2  20 
ducados,  y  buen  provecho  la  hagan,  que  (166)  de  buena 
mano,  buen  dado. 

PEDRAZA 

Con  estos  quedo  yo  pagado  de  otros  tantos  que  he 
dado  a  esta  senora;  y  asi,  me  voy.  (167)  i  Que  es  lo 
que  quiere  la  mona  ?  pinones  mondados.  225 

DONA  SOFIA 

Senores,  i  que  es  esto  ?  \_A  parted]  (168)  (El  pez  que 
busca  el  anzuelo,  busca  su  duelo;  que  (169)  quien  al  cielo 
escupe,  en  la  cara  le  cae.  Si  digo  que  no  es  mi  marido, 
no  me  daran  el  dinero;  y  si  digo  que  lo  es,  me  lo  llevan. 
Yo  estoy  como  (170)  perro  de  barbecho,  ladra  sin  provecho.)  230 

PEDRAZA 

Senora  (171),  quien  todo  lo  quiere,  todo  lo  pierde.  (172) 
A  perro  viejo  no  hay  tus,  tus;  y  (173)  de  burlas  ni  de  veras, 
con  tu  amo  no  partas  per  as. 

DONA  SOFIA 
j  Ay  de  mi !  dejame  llorar,  que  (174)  no  soy  yo  sola. 

PEDRAZA 

Ea,  no  mas,  que  soy  tierno  de  corazon.    Yo  volvere  el  235 
dinero;  que  (175)  buenas  son  mangas  despues  de  pascuas. 
Quiero  darlo^poco  a  poco,  porque  vuesa  merced  no  (176) 
me  de  con  los  ochos  y  nueves. 

ALVARADO 

Dice  bien  el  senor  Pedraza;    y  pues  han   venido   los 
musicos,  canten  y  bailen,  que  (177)  quien  canta,  sus  males 240 
espanta. 


52  TEN  SPANISH  FARCES 

PEDRAZA 

Pero  adviertan  que  hemos  hablado  todos  refranes;  y 

asi,  canten  de  aquesta  manera.     (178)    Entre  col  y  col, 

lechuga;   que  (179)  quien  bien  baila,  de  boda  en  boda  se 

245  anda.  Salen  los  Musicos  y  cantan. 

Musicos. 
Una  doncella  chancera, 

(180)  de  las  de  «  tarde  piache,* 

que  (181)  con  pico  de  once  varas 

pica  y  repica  que  sabe, 
250  aficionada  a  un  mancebo, 

(que  (182)  todo  lo  nuevo  aplace), 

le  tresquilo  a  panderetes, 

que  (183)  corta  el  pelo  en  el  aire. 

(184)  Dejosele  a  buenas  noches; 
ass  (185)  /  que  linda  si  se  enrubiase/ 

que  (186)  quien  malas  manas  tiene, 

siempre  de  las  suyas  hace. 

Mas  la  dama,  arrepentida, 

pretende  desenganarle; 
260  y  poniendo  haldas  en  cinta, 

(187)  le  baila  el  agua  delante. 

(188)  Como  sardina  muere  la  dama  ingrata; 
solid  de  la  sarten  y  did  en  las  brasas. 

(189)  Quien  te  hizo  el  pico,  te  hizo  rico. 

265  (190)  Ese  es  tu  enemigo,  quien  es  de  tu  oficio. 

(191)  Nunca  te  acompanen  libres  mujeres; 
dime  con  quien  andas,  direte  quien  eres. 

Picarilla,  si  quieres  salir  de  los  duelos, 
(192)  llegate  a  los  buenos,  seras  uno  dellos. 


ENTREMES  FAMOSO 

EL   DOCTOR   Y   EL   ENFERMO 

FOR 

LUIS   QUINONES   DE   BENAVENTE 
1589  ?-l65l 


ENTREMfiS    FAMOSO 

EL    DOCTOR  Y   EL   ENFERMO 


LUIS    QUINONES    DE    BENAVENTE 
FIGURAS  QUE  HABLAN   EN   £L: 


DON  CRispfN. 

AVENDANO. 

CASTANEDA. 


DONA  TOMASA,  su  hija. 
MORMOJON,  simple. 
Mtfsicos. 


EL  DOCTOR  GARATUSA. 


Sale  DON  CRISPIN  con  una  daga  desnuda  en  la  mano,  como 
que  se  quiere  dar  con  ella,  y  AVENDANO  y  CASTANEDA 
deteniendole,  asidos  del,  y  el  haciendo  fuerza  con  que  se 
quiere  matar. 

CASTANEDA.        Hombre  de  los  demonios,  <i  estas  loco  ? 

Deten  la  ejecucion;  aguarda  un  poco. 

<j  Que  causa  te  ha  movido,  mentecato  ? 
AVENDANO.         \  Suspende,  aguarda,  ten  ! 
CRISPIN.  Desta  te  mato. 

CASTANEDA.        Hacednos  sabidores,  por  lo  menos, 

de  la  causa  de  hacer  estos  extremos. 
CRISPIN.  <[  Es  posible,  Avendano  y  Castaneda, 

que  sabiendo  a  que  sabe  mi  moneda, 

y  viendo  que  a  matarme  me  provoco, 

no  echais  de  ver  que  amor  me  tiene  loco  ? 
AVENDANO.         Pues  ,;  somos,  por  ventura,  aqui  adivinos, 

que  habemos  de  juzgar  tus  desatinos  ? 
55 


TEN   SPANISH  FARCES 


CASTANEDA. 
CRISPIN. 
CASTANEDA. 
CRISPIN. 

AVENDANO. 
CRISPIN. 

CASTANEDA. 
CRISPIN. 


CASTANEDA. 


CRISPIN. 


CASTANEDA. 


<j  Y  quien  es  la  homicida,  quien  la  ingrata  ? 
El  doctor  Garatusa  es  quien  me  mata. 
Pues  <J  del  doctor  estais  enamorado  ?          15 
O  no  sabeis  de  amor  o  sois  menguado. 
,j  No  tiene  hija  este  doctor,  salvaje  ? 
<j  Y  ha  de  ser  al  quitar  el  maridaje  ? 
Matrimonio  ha  de  ser;  aqueso  pido; 
que  me  tiene  su  amor  de  amor  rendido.      20 
<;  Corresponde  a  ese  amor  ? 

Pierde  el  sentido, 
y  he  sido  veces  mil  favorecido; 
mas  es  su  padre  un  Argos  vigilante. 
<[  Hay  mas  de  ser  Mercuric,  di,  ignorante  ? 
<i  Que  me  daras  si  yo  te  doy  entrada  25 

en  su  casa,  por  mas  que  este  guardada  ? 
Fuera  de  plata  y  oro  de  mis  minas, 
porque  es  pedir  aquesto  bernardinas, 
pide  los  imposibles  que  quisieres, 
que  nada  es  para  mi  cuanto  pidieres.  30 

Tu  has  de  fingirte  enfermo,  que  con  esto 
vendras  a  echar  a  tu  fortuna  el  resto. 
Yo  y  Avendano,  como  tus  criados, 
iremos  de  camino  disfrazados, 
diciendo  que  esta  enfermo  un  caballero       35 
con  cantidad  de  joyas  y  dinero. 
Que  te  cure  en  su  casa,  y  si  esto  es  cierto, 
tu  le  daras  al  viejo  perro  muerto. 
Es    traza    milagrosa;    ya    no    quiero 
matarme;  que  de  hoy  mas  vivir  espero       40 
con  mi  Tomasa  con  descanso  y  gusto, 
aunque  esto  de  haber  suegro  es  grande 

susto. 


EL  DOCTOR  Y  EL  ENFERMO 


57 


AVENDANO.         Pues  vamoslo  a  poner  por  obra  luego. 
CRISPIN.  Vamos,  que  ya  me  aliento  y  me  sosiego. 

Vanse,  y  sale  el  DOCTOR  GARATUSACOW  ropa 
y  montera,  barba  de  doctor  y  guantes  en  la 
pretina,  y  MORMOJON,  simple;  el  DOC- 
TOR corriendo  tras  el  con  un  polo,  y  el 
huyendo  a  todas  paries  que  le  siga. 

MORMOJON.        Yo  no  he  de  estar  en  casa. 

DOCTOR.  Hermano,  hermano,  45 

vuestro  padre  lo  quiere;  aquesto  es  llano. 

MORMOJON.        No  he  de  estar  con  doctor,  aunque  supiera 
servir  a  un  aguador  o  a  una  partera. 
Los  doctores  no  son  como  Dios  manda 
que  scan  los  cristianos;  pues  nos  dice         50 
que  se  amen  los  unos  a  los  otros, 
y  esto  haceis  al  contrario  bien  vosotros; 
pues  en  lugar  de  amarmos  y  querermos, 
como  en  la  ley  de  Dios  esta  ordenado, 
mos  deseais  dolores  de  costado,  ss 

calenturas,  tercianas  y  otros  males, 
de  que  enferman  tambien  muesos  reales. 

DOCTOR.  Pues  si  no  hubiera  medicos,  salvaje, 

<i  quien  habia  de  curar  ? 

MORMOJON.  <;  Quien  ?    El  albeitar, 

que  todo  para  mi  viene  a  ser  uno.  60 

No  hay  sino  daca  el  pulso,  toma  el  pulso, 
y  al  fin  viene  a  parar  vueso  discurso 
en  sangrar  y  purgar  y  echar  ventosas. 

DOCTOR.  A  la  salud  son  todas  provechosas. 

MORMOJON.        Llamaron  a  un  doctor  para  un  enfermo,   65 
y  dijo:  «  Mientras  hago  que  me  ensillen 


5»  TEN    SPANISH   FARCES 

la  mula,  vaya  y  diga  que  le  sangren. » 

DOCTOR.  Son  disparates  cuantos  aqui  has  dicho, 

dignos  de  ingenio  tal  y  tal  capricho. 

MORMOJON.        Viene  el  doctor  a  casa  al  mediodia;  70 

dice  desde  el  portal:  «  Dona  Maria, 
<j  ha  venido  a  buscarme  alguien,  senora  ?» 
«  No,  senor,»  le  responde;  y  el  la  dice: 
«  No  les  de  Dios  salud,  que  si  ella  falta, 
me  vendran  a  buscar,  como  deseo. »  75 

DOCTOR.  <i  Es  vejamen  aqueste  o  regodeo  ? 

MORMOJON.         Dicen  que  habia  un  doctor  de  media  talla, 
que,  para  acreditarse  en  el  oficio, 
dando  de  que  era  sabio  algun  indicio, 
siempre  que  visitaba  algun  enfermo  80 

miraba  si  en  el  suelo  habia  caidas 
cortezas  de  melon  o  de  granada, 
y  tomandole  el  pulso  al  tal  doliente 
le  decia,  mostrandose  sapiente: 
«  Vuesa  merce  ha  comido  ...»  lo  que  via,  85 
y  con  esto  su  fama  se  extendia. 
Pues,  viendo  un  dia  cerca  de  la  cama 
unas  pajas  de  balago,  al  enfermo 
le  dijo  mesurado  y  muy  fruncido: 
«  Vuesa  merced  albardas  ha  comido. »          90 

DOCTOR.  j  Buen  humor  gastas  hoy  ! 

MORMOJON.  Si  es  bueno  u  malo, 

yo  no  he  de  estar  en  casa. 

DOCTOR.  Con  un  palo 

os  hare  yo  que  esteis;  entra  alia  dentro. 

MORMOJON.         Yo  no  quiero  entender  mas  con  la  mula, 

que  soy  cristiano  viejo  y  tengo  bula,           95 
y  n<  he  de  consentir  que  a  mi  me  hable 
en  latin  una  mula  venerable. 


EL  DOCTOR   Y   EL  ENFERMO 


59 


Dentro  AVENDANO  y  CASTANEDA,  y  luego 
salen. 

CASTANEDA.        <J  Esta  en  casa  el  doctor  ? 

DOCTOR.  Mira  quien  llama. 

MORMOJON.        No  hay  para  que,  que  ya  dentro  ban 

entrado. 

CASTANEDA.        Sea  vuesa  merced  muy  bien  hallado.         100 
Nosotros  dos  servimos,  senor  mio, 
a  un  criollo  que  de  Indias  ha  venido. 
Viene  indispuesto,  y  viendo  que  en  su  casa 
en  lo  que  es  el  cuidado  no  habra  tasa, 
queremos  que  le  cure;  porque  es  hombre  105 
que  le  dara  (y  de  aquesto  no  se  asombre) 
gran  cantidad  de  oro,  plata  y  perlas, 
que  admirado  estara  si  llega  a  verlas, 
porque  las  trae  como  unas  calabazas; 
diamantes  como  ruedas  de  molinos.  no 

MORMOJON,  aparte. 

(Anadid  otro  par  de  desatinos.) 

DOCTOR.  Digo,  senores,  que  de  buena  gana 

curare  a  ese  senor;   traiganle  luego. 

CASTANEDA.        En  este  si  consiste  su  sosiego. 

Vanse  los  dos. 

DOCTOR.  Aquesto  es  ser  doctor.    <;  Que  te  parece  ?.  115 

MORMOJON.         <i  A  mi  ?  Que  el  codicioso  y  el  tramposo 
presto  se  han  concertado. 

DOCTOR.  j  Ah,  Tomasica  1 

Sale  DONA  TOMASA,  muy  honesta. 

TOMASA.  <;  Que  manda  mi  seor  padre  ?     Muy 

contento 
esta,  vuesa  merced. 


60  TEN   SPANISH   FARCES 

DOCTOR.  Hija,  <J  es  quienquiera 

la  ventura  que  a  ti  y  a  mi  me  espera  ?       120 

Viene  a  curarse  aqui  un  Indiano,  y  tiene 

gran  cantidad  de  joyas,  cro  y  plata; 

y  asi,  si  nuestra  dicha  no  es  ingrata, 

nos  ha  de  dejar  ricos.    Lindo  dote 

el  tuyo  vendra  a  ser;  un  veintecuatro       125 

de  Sevilla  es  muy  poco  para  yerno 

del  doctor  Garatusa. 

TOMASA,  aparte.  (\  Que  gobierno  ! 

Hasta  tener  el  caso  en  buen  estado, 
es  necedad  hablar  de  confiado.) 

MORMOJON,  aparte. 

(j  Plegue  a  Dios  no  suceda  [V]  la  trocada,    130 
y  venga  a  ser  la  fiesta  al  fin  aguada  !) 

Salen  CASTANEDA  y  AVENDANO,  trayendo 
entre  los  dos  a  DON  CRISPIN,  muy  toca- 
jado  y  macilento,  quejdndose. 

CRISPIN,  j  Quedito,  requedito  !   j  Ay,  que  me  muero! 

DOCTOR.  Llega  aca  tu  esa  silla,  majadero. 

Si&ntanle. 

Diga  vuesa  merced,  <?  que  es  lo  que  siente  ? 
CRISPIN.  Un  infierno,  un  volcan,  un  accidente          135 

que  me  constrine  adulto  y  melancolico. 

Oiga  vusted,  y  atienda. 

DOCTOR.  Poco  a  poco. 

TOMASA,  aparte.  (\  Ay,  Dios!  j  mi  Don  Crispin  es  el  que  veo! 

For  mi  se  finge  enfermo,  a  lo  que  creo. 

i  Ingeniosa  quimera  de  hombre  amante  !)   140 
DOCTOR.  Diga  vuesa  merced;   pase  adelante. 

CRISPIN.  Danme  en  las  basas, ;  ay  !,  unos  gurguces 


EL  DOCTOR   Y  EL  ENFERMO 


6l 


tan  desabridos,  rapidos  y  fieros, 
queme  hacen,  como  anino,hacerpucheros. 
MS 


DOCTOR.  No  entiendo  lo  que  dice,  o  yo  estoy  loco. 

CRISPIN.  Yo  me  dare  a  en  tender;  atienda  un  poco.   150 

MORMOJON.         Critico  es  este  mal,  pues  no  se  entiende. 

CRISPIN.  Aqueste  mal  me  sube  y  me  deciende 

por  estos  teglerifos  con  tal  fuerza, 
que  no  hay  quien  su  disignio  aparte  o 

tuerza 

de  estos  metodos  rigidos  en  todos;  155 

y  son  los  espicinios  de  mil  modos, 
desabridos,  picantes  y  traviesos, 
que  no  tienen  conmigo  paz  mis  huesos. 

DOCTOR.  j  Vive  Dios,  que  a  enfadarme  me  provoco! 

CRISPIN.  Yo  me  dare  a  entender;  atienda  un  poco.  160 

Vaya  vusted  conmigo;  andad  vosotros. 
Mirad  si  mi  recamara  ha  llegado, 
porque  al  doctor  estoy  aficionado, 
y  he  de  dalle  una  joya  birillante. 

Vanse  los  dos. 

DOCTOR.  Diga  vuesa  merced;  pase  adelante.          "165 

CRISP!N.  Como  digo,  senor,  la  requemada 

sangre,  con  flemas  grandes  congelada  .  .  . 
;  Ay,  que  me  acude  el  mal  a  aqueste  lado  ! 
Parece  que  me  siento  algo  aliviado. 

£chase  hacia  DONA  TOMASA,  y  abrdzase  de 
las  faldas,  y  velo  MORMOJON,  y  pdsala  al 
otro  lado  del  brazo. 


62 


TEN   SPANISH   FARCES 


MORMOJON.        Pues  pasese  muesa  ama  a  estotro  lado.     170 
CRISPIN.  j  Ay,  ay  !    j  ya  se  divide  y  se  reparte. 

TOMASA.  A  lastima  provoca  ver  un  hombre 

de  tales  partes  con  dolores  tantos. 

MORMOJON.        No  pienso  que  ha  venido  el  a  hacer  santos. 
DOCTOR.  Diga  vuesa  merced. 

CRISPIN.  Sangrome  en  Lima      175 

un  barbero,  cunado  de  mi  prima; 

y  como  un  Indio  me  rasgo  la  vena, 

tuvo  desto  el  impulse  alguna  pena, 

retrocediendo  el  musculo  a  la  parte 

donde  el  calor  su  agilidad  reparte.  180 

DOCTOR.  Ni  al  mal  ni  a  vuesaste  entiendo  tampoco. 

CRISPIN.  Yo  me  dare  a  entender;  atienda  un  poco. 

Ya,  ya  la  melancolia  se  ha  soltado, 

Hacia  TOMASA. 

y  acude  con  mas  fuerza  a  aqueste  lado. 

Aliviado  me  siento  cualque  cosa;  185 

no  os  quiteis  deste  lado,  dama  hermosa. 
MORMOJON.         \  Bercebu  lleve  el  padre  que  te  hizo  ! 

Ponese  en  media. 

<j  Es  aqueste  tu  mal  antojadizo  ? 
CRISPIN.  Traeme  debilitado  la  flaqueza, 

que  no  se  adonde  tengo  la  cabeza.  190 

MORMOJON.        Veisla  aqui. 

Dale  una  palmada  en  la  cabeza. 

CRISPIN.  j  Ay,  ay,  ay  !     j  Ay,  que  me  ha  dado  ! 

MORMOJON.        ;  Ay,  ay,  ay  !    j  ay,  por  andar  abajado  ! 
DOCTOR.  Yo  voy  a  prevenir  lo  que  aqui  importa, 

porque  sea  la  cura  breve  y  corta. 

Quedate  aqui,  Tomasa,  mientras  vuelvo.  195 

Vase. 


EL  DOCTOR   Y   EL   ENFERMO  63 

TOMASA.  A  darte  gusto  en  todo  me  resuelvo. 

CRISPIN.  Id  vos  por  una  caja  de  perada. 

MORMOJON.        Mejor  fuera  de  guerra,  y  bien  templada. 
CRISPIN.  Asome  de  calor,  amigo  mio; 

un  bucaro  de  agua,  que  este  frio.  200 

MORMOJON.        <j  Un  picaro  de  agua  ? 
TOMASA.  Un  barro,  dice; 

anda,  ve,  por  tu  vida. 

MORMOJON.  Voy  volando.  Vase. 

CRISPIN.  Esta  ocasion  estaba  deseando. 

Levdntase. 

TOMASA.  Don  Crispin  de  mi  vida,  £  que  es  aquesto? 

CRISPIN.  A  darte  gusto  en  todo  me  he  dispuesto.    205 

Sale  MORMOJON,  y  vuelvese  DON  CRISPIN 
a  sentar  y  quejarse. 

MORMOJON.        No  hallo  ningun  picaro. 

CRISPIN.  i  Ay,  ay,  ay  ! 

MORMOJON.        \  Valgate  el  diablo  !    ±  Soy  yo  basilisco 

que  mato  con  la  vista,  o  gato  arisco  ? 
CRISPIN.  Senora  de  mi  alma,  yo  soy  muerto. 

MORMOJON.         Pues,  vivo  os  vi  yo  ahora. 
CRISPIN.  Unos  bizcochos  210 

tomara  yo.   j  Ay,  Jesus,  la  muerte  he  visto! 
MORMOJON,  \_aparte~]. 

(En  galeras  los  gastes,  j  plegue  a  Cristo  !) 
TOMASA.  En  aquel  escritorio  he  de  tenellos; 

entra  por  ellos,  Mormojon  amigo. 

MORMOJON.        Yo  los  traere.  Vase. 

TOMASA.  Mi  Don  Crispin,  yo  digo     215 

que  la  ocasion  no  pierdas,  ya  que  diste 

arbitrio  tal,  y  a  entrar  te  dispusiste. 


64 


TEN   SPANISH   FARCES 


CRISPIN.  Dame,  Tomasa  mia,  aquesos  brazos; 

connrmare  mi  amor  con  tales  lazos. 

Abrdzanse,  y  sale  MORMOJON,  y  vuelvese  a 
caer  en  la  silla. 

MORMOJON.        No  esta  la  Have  alii  del  escritorio.  220 

CRISPIN.  ;  Ay,  Jesus  !  j  confesion  ! 

Quedase  desmayado. 
MORMOJON.  j  Valgate  el  diablo! 

En  viendome  te  caes.     <<  Eres  el  puerco 

de  Juan  de  Avila,  vivo,  y  luego  muerto  ? 
TOMASA.  El  esta  desmayado;  trae  al  punto 

un  jarro  de  agua. 
MORMOJON,  aparte.  (Mas  <J  que  esta  el  difunto    225 

vivo  en  saliendo  yo  deste  aposento  ?) 
CRISPIN.  Tomasa  amiga,  lo  que  en  esto  siento 

es  poner  tierra  en  medio,  y  desposarnos; 

que  fuerza  vendra  a  ser  el  perdonarnos 

tu  padre,  andando  el  tiempo. 
TOMASA.  Aqueso  mismo  230 

es  lo  que  digo  yo,  que  es  barbarismo 

andar  con  daca  el  coco,  guarda  el  coco 
CRISPIN.  Vamos,  mi  bien,  que  estoy  de  amores  loco. 

Vanse  de  las  manos,  y  sale  MORMOJON  con 
un  jarro  de  agua. 

MORMOJON.        j  Hola,  muesa  ama,  hola  !  <;  ya  volaron  ? 

j  Voto  a  tal,  que  esta  vez  mos  la  pegaron  !  235 

Sale  el  Doctor. 

DOCTOR.  <J  Adonde  esta  el  enfermo  ? 

MoRMOj6N.  Ya  esta  sano; 

que  tu  hija  tom6  en  ello  la  mano. 


EL  DOCTOR   Y  EL  ENFERMO  65 

DOCTOR.  Fingido  era  el  enfermo.    j  Vive  el  cielo, 

que  no  ha  de  estar  seguro  en  todo  el  suelo ! 

Salen  DONA  TOMASA  y  DON  CRISPIN  de 
las  manos,  y  dicen  de  rodillas,  y  el 
DOCTOR  este  muy  enojado. 

TOMASA.  A  tus  pies  llego  humilde  y  vergonzosa,      240 

padre  mio;  perdoname,  y  advierte 

que  son  yerros  de  amor. 
DOCTOR.  Con  solo  verte 

a  colera  me  incitas. 
CBISPIN.  Suegro  mio, 

no  hagas,  por  San  Gil,  tal  desvario. 
MORMOJON.         |  Oh,  ladron  !     <:  Enfermito  te  fingias         245 

para  hacer  en  mi  ama  las  sangrias  ? 
DOCTOR.  Digo  que  yo  os  perdono  y  reperdono. 

fxhales  la  bendicion,  y  levdntanse,  y  salen 
los  Musicos. 

TOMASA.  Pues  aquestos  senores  han  llegado 

a  tiempo  que  esto  esta  en  dichoso  estado, 
toquen  los  instrumentos,  bailaremos.         250 

MUSTCOS.  Con  muchisimo  gusto  os  serviremos. 

DOCTOR.  Toquen  el  Rastreado,  y  baile  sola, 

que  no  quiero  en  mi  casa  tabahola. 

Tocan  al  Rastro,  y  baila  DONA  TOMASA  sola. 


JUAN   RANA   COMILON 


LOS   BUNUELOS 


EL   HAMBRIENTO 


ENTREMES    DEL  ESPEJO 

Y   BURLA   DE   PABLILLOS 

PERSONAS    QUE    HABLAN    EN    EL 


PABLILLOS. 

UN  VEJETE. 


Dos  ALGUACILES. 
UN  HOMBRE. 


Sale  PABLILLOS  corriendo,  y  el  VEJETE  tras  el. 

PABLILLOS.         j  Detenganlos ! 

VEJETE.  i  Pues  va  tras  ti  ninguno  ? 

PABLILLOS.         j  Confesion  !    ;  muerto  soy  !    <J  tantos  a 

uno? 

VEJETE.  Aguardate,  inocente. 

PABLILLOS.          <;  Contra  uno  solo  un  escuadron  de  gente  ? 

;  confesion,  confesion ! 

VEJETE.  No  hay  quien  le  alcance.    5 

PABLILLOS.          j  Que  no  halle  un  hombre  un  confesor  de 

lance ! 

VEJETE.  <;  Que  te  han  hecho  ?     <J  Que  has  visto  ? 

PABLILLOS.          j  Confesion,  que  me  muero,  vive  Cristo ! 
VEJETE.  <;  Que    dices  ?       Bueno    y    sano    estas, 

hermano. 
PABLILLOS.          Muerto  estoy,  aunque  estoy  tan  bueno  y 

sano.  10 

VEJETE.  Esperate,  importune. 

PABLILLOS.         \  Confesion,  muerto  soy  !  <:  tantos  a  uno  ? 

69 


7O  TEN   SPANISH   FARCES 

VEJETE.  <i  No  quieres  escucharme  ? 

PABLILLOS.         No,  que  quiero  empezar  a  confesarme: 

Acusome  .  .  .  Pdnese  de  rodillas. 

VEJETE.  i  Levantate,  menguado !         15 

PABLILLOS.         que  estoy  sirviendo,  que  es  un  gran  pecado. 

Acusome,  senor  .  .  . 

VEJETE.  i  Espera,  loco  ! 

PABLILLOS.         que  por  no  pecar  mucho  sirvo  poco. 

Acusome,  senor  . . . 

VEJETE.  ^  Que  te  da  susto  ? 

PABLILLOS.         que  peco  muchas  veces  por  mi  gusto.         20 
VEJETE.  Yo  pierdo  la  paciencia. 

PABLILLOS.         Con  esto  se  ha  aquietado  mi  conciencia. 

[Levdntase.~\ 

VEJETE.  Ya  no  pienso  seguirte  paso  alguno. 

PABLILLOS.         j  Confesion,   muerto   soy !      <:  Tantos   a 

uno? 

VEJETE.  Si  muerto  esta,  ,3  que  confesion  entabla  ?  25 

PABLILLOS.         Aunque  estoy  muerto,  no  he  perdido  el 

habla. 

VEJETE.  Pues  <;  que  te  ha  sucedido  ? 

PABLILLOS.         Con  mas  de  treinta  hombres  he  refiido. 
VEJETE.  <i  Como  ? 

PABLILLOS.  Yo  os  lo  dire. 

VEJETE.  Ya  estoy  atento. 

PABLILLOS.         Pues,  senor,  como  digo  de  mi  cuento,         30 

ya   sabeis   que   soy   hombre   de   impor- 

tancia. . . 

VEJETE.  Ya  lo  se.     (Aparte.}     (\  Que  ignorancia !) 

PABLILLOS.         y  que  se  fue  mi  amo  el  otro  dia 

a  cierta  comision  . . . 
VEJETE.  Ya  lo  sabia. 


ENTREMES  DEL  ESPEJO  ?1 

PABLILLOS.         y  que  no  fui  con  el. 

VEJETE.  Ya  lo  se,  amigo.  35 

PABLILLOS.          Pues  yo  no  fui  con  el,  id  vos  conmigo. 

VEJETE.  A  todo  estoy  atento. 

PABLILLOS.         Pues,  senor,  como  digo  de  mi  cuento, 
fuese  mi  amo  en  fin,  y  a  mi  me  dijo: 
«  Ven  aca,  Pablos,  hijo;  40 

tu  te  quedas  en  casa 
para  ver  lo  que  pasa; 
que,  como  tu  senora  es  tan  bonita, 
y  una  bonita  quiere  ser  maldita, 
pienso  que  la  picafta  45 

en  quedandose  sola  se  acompana. 
No  dejes  que  ninguno  la  visite, 
que,  aunque  yo  mas  la  rifio,  me  repite, 
condenando  mis  modos, 
que  por  lo  bueno  la  visitan  todos;  50 

y  es  lo  que  mas  me  agravia,  y  mas  condeno 
que  todos  la  visiten  por  lo  bueno.  » 
Hicelo  yo  tan  bien  que  esta  manana 
entre  y  hallela  puesta  a  una  ventana 
que  tenia  un  vidrio  claro,  y  por  cubierta  55 
una  tapa  como  otros  tienen  puerta. 

VEJETE.  El  espejo  seria  de  ese  modo. 

PABLILLOS.         Si  era  ventana  con  su  marco  y  todo. 
Estuvela  acechando, 

y  con  alguien  sin  duda  estaba  hablando,     60 
que  con  mil  monerias 
asi  le  hizo  tantas  cortesias; 
y  luego  se  tentaba  la  cabeza, 
que  entonces,  si  no  es  mucha  mi  rudeza, 
debia  de  decille  la  taimada:  65 


72  TEN   SPANISH  FARCES 

«  <J  Que  os  parece  ?     £  no  estoy  muy  bien 

tocada  ? » 

Quitose,  y  cerro  luego. 

Yo  de  colera  ciego 

llegome  a  la  ventana  a  ver  quien  era; 

y  un  hombre  veo  alii  de  mi  manera,  70 

de  mis  pies,  cara,  talle,  y  estatura; 

no  dirian  sino  que  era  mi  figura. 

Acerqueme  por  ver  si  sueno  era, 

y  el  se  acerco  tambien,  y  de  manera 

que  me  vi  en  riesgo  harto,  75 

porque  un  beso  me  da,  si  no  me  aparto. 
VEJETE.  El  espejo  seria  de  ese  modo. 

PABLILLOS.         Si  era  ventana  con  su  marco  y  todo. 

Hagole  un  gesto,  y  el  me  hace  otro  gesto; 

hago  esto,  y  el  tambien  hace  esto;  80 

voy  a  pegarle,  y  el  del  mismo  modo; 

Haciendo  ademanes. 

la  mano  escupo,  y  el  escupe  y  todo; 

a  el  arremeto,  y  el  a  mi  arremete; 

doyle  un  cachete,  y  dame  otro  cachete; 

tan  igual  es  conmigo  85 

que  era  mi  mona  mas  que  mi  enemigo. 

Solo  de  que  era  zurdo  se  me  acuerda, 

porque  el  me  daba  con  la  mano  izquierda. 
VEJETE.  El  espejo  seria  de  ese  modo. 

PABLILLOS.         Si  era  ventana  con  su  marco  y  todo.  90 

Yo,  viendo  que  de  alii  no  puedo  echalle, 

busco,  y  no  hallo  nada  con  que  dalle. 

Llegome  a  la  cocina,  yo  en  persona; 

cogi  un  tizon,  por  no  tener  TLzona; 

y  de  aquesto  me  aflijo,  95 


ENTREMES   DEL  ESPEJO 


73 


VEJETE. 
PABLILLOS. 


VEJETE. 
PABLILLOS. 


VEJETE. 
PABLILLOS. 

VEJETE. 

PABLILLOS. 

VEJETE. 


que  yo  no  se  quien  diabros  se  lo  dijo, 
que  luego  volvi  a  estotro, 
y  juro  a  Dios  que  ya  le  halle  con  otro. 
Pegamonos  tan  f uertes  tizonazos 
que  hicimos  la  ventana  mil  pedazos.          100 
Huyo  muy  mal  herido, 
y  quiza  porque  nadie  le  siguiera, 
me  cerro  la  ventana  por  defuera; 
pero  fue  action  villana, 
que  por  cada  pedazo  de  ventana  105 

un  hombre  iba  saliendo, 
y  todos  con  tizones.     Salgo  huyendo, 
muerto  y  lleno  de  espantos, 
porque  no  me  atrevi  a  renir  con  tantos; 
y  asi  dije  mil  veces  importune:  no 

«  j  Confesion,    muerto  soy  !   i  tantos    a 

uno?  » 
Seria  el  espejo,  simple. 

i  Hay  tal  apodo  ! 

Si  era  ventana  con  su  marco  y  todo. 
i  Que  hare,  que  ya  no  puedo 
volverme  a  casa  ? 

Pues  <i  por  que  ? 

De  miedo.  115 

De  buena  gana  a  oficio  me  pusiera, 
como  dentro  de  una  hora  le  aprendiera. 
Eres  muy  grande. 

Nunca  fui  chiquito, 
que  yo  soy  grande  desde  tamanito. 
Para  comer  yo  se  un  oficio  bravo.  120 

£  Y  no  para  cenar  ?  pues  no  le  alabo. 
Animal ! 


74 


TEN    SPANISH   FARCES 


PABLILLOS.  d  Es  barbero  ? 

VEJETE.  No  es  barbero. 

PABLILLOS.         <»  Zapatero  ? 

VEJETE.  Tampoco  es  zapatero. 

PABLILLOS.          <J  Es  el  de  sastre  ? 

VEJETE.  No. 

PABLILLOS.  Pues  ya  le  escucho. 

VEJETE.  No  es  sino  el  de  ladron. 

PABLILLOS.  No  le  erre  mucho.  125 

VEJETE.  Si  habilidad  tuvieras, 

muy  presto  rico  y  prospero  te  vieras. 
PABLILLOS.          ±  Y  si  me  ahorcan  antes  de  muy  presto  ? 
VEJETE.  A  muchos  lleva  Dios  en  ese  puesto. 

PABLILLOS.         Pues  si  en  la  horca,  mire  lo  que  hablo,  130 

me  llevare  a  mi  Dios,  j  me  lleve  el  diablo  ! 

i  yo,   campanillas !    j  fuego   en  tan  mal 

nombre ! 

i  que  antes  que  muera  doblan  por  un 

hombre ! 
VEJETE.  Los  dos  juntos  andemos, 

tu  seras  mi  aprendiz,  y  partiremos.  135 

PABLILLOS.         A  serviros  me  allano, 

con  condicion  que  hurteis  como  cristiano; 

que  yo  he  de  hurtar  .  .  . 

VEJETE,  aparte.  (El  disparate  arguyo.) 

PABLILLOS.         no  quitandole  a  nadie  lo  que  es  suyo. 
VEJETE.  Bien  entiendes  la  ciencia.  .         140 

PABLILLOS.         Yo  he  de  hurtar,  no   cargando  la  con- 

ciencia. 

VEJETE.  Has  de  tener  ardid  y  valentia. 

PABLILLOS.         Yo  mas  pienso  robar  por  cortesia. 

t  Y  hay  ahora  ladrones  ? 


ENTREMES   DEL  ESPEJO 


75 


VEJETE.  Y  bravos  bellacones.  145 

Hubo  un  hurto  muy  grande  el  otro  dia. 
PABLILLOS.         <iY  de  cuanto  seria? 
VEJETE.  De  sesenta  mil  reales. 

PABLILLOS.         j  Que  Undo  hurtar  !      <;  Sesenta  mil,  ca- 

bales  ? 
VEJETE.  Y  en  plata  fueron,  porque  mas  te  asom- 

bres.  150 

PABLILLOS.          £  En  plata  ?    j  Vive  Dios,  que  hay  dichas 

de  hombres ! 

Rabio  por  estrenarme. 
VEJETE.  Pues,  Pablillos,  cuidado,  y  ayudarme. 

Sale  un  HOMBRE. 
HOMBRE.  |  Ah,  caballeros,  no  teman  ! 

ya  se  de  que  oficio  son.  155 

PABLILLOS.         Ladrones,  para  servirle. 
VEJETE.  ^  Que  dices  ? 

HOMBRE.  Tambien  lo  soy. 

,i  Y  ustedes  han  hurtado 

cualque  cosa  ? 
PABLILLOS.  No,  senor. 

<;  Trae  usted  algo  que  le  hurtemos  ?  160 

HOMBRE.  Mejor  mafia  me  doy  yo; 

esta  bolsa  quite  agora 

con  diez  de  a  ocho. 

VEJETE.  <i  Diez  son  ? 

HOMBRE.  Y  en  esta  bolsa  encarnada.  Ensbnala 

PABLILLOS  \_aparte  al  Vejete^] 

(Quitemosle  a  este  ladron.  165 

esta  bolsa,  y  ganaremos 

los  cien  anos  de  perdon.) 
VEJETE  \japarte  a  Pablillos .] 

(«iY  tendras  habilidad?) 


76 


TEN   SPANISH   FARCES 


PABLILLOS  [aparte  al  VejeteJ] 

(Si.) 
VEJETE  [aparte  a  PablillosJ] 

(<j  Y  me  ayudaras?) 

PABLILLOS  [aparte  al  Vejete^]  (i  Pues  no.  ?) 

HOMBRE  [aparte^] 

(No  tienen  habilidad.) 


170 


Paseanse,  y  el  VIEJO  ase  por  delrds  al 
LADRON,  y  PABLILLOS  al  VIEJO. 

VEJETE.  j  Tengan  aqueste  ladron  ! 

j  Justicia  de  Dios,  justicia  ! 
PABLILLOS.          j  Tengan  aqueste  ladron  ! 
VEJETE.  <i  Que  haces,  simple  ? 

PABLILLOS.  <j  Que  ?    Ayudarte. 

VEJETE.  \  Hay  desvergiienza  mayor !  175 

Al  ladron  has  de  tener. 
PABLILLOS.         Pues  <»  tu  no  eres  el  ladron  ? 
VEJETE.  j  Justicia  de  Dios  ! 

Sale  el  ALGUACIL. 

ALGUACIL.  c  Que  es  esto  ? 

PABLILLOS.         Un  alguacil  respondio. 
ALGUACIL.          <i  Que  es  esto  ? 
VEJETE.  Este  ladronazo  180 

que  una  bolsa  me  quito 

con  diez  de  a  ocho. 

HOMBRE.  <j  Que  dices  ? 

ALGUACIL.          No  lo  entiendo. 
HOMBRE.  i  Hay  tal  traicion  ! 

ALGUACIL.  «J  Quien  es  quien  la  ha  hurtado  ? 

VEJETE.  Aqueste. 

PABLILLOS.         Aqueste,  sefior. 


ENTREMES   DEL  ESPEJO 


77 


VEJETE.  Senor,  185 

que  es  un  simple  este  bergante, 

que  una  bolsa  me  quito 

con  diez  de  a  echo  .  .  . 

HOMBRE.  i  Que  miente  ! 

VEJETE.  y  es  encarnada,  senor. 

HOMBRE.  j  Que  miente,  senor  ! 

Sdcale  el  ALGUACIL  una  bolsa  y  la  abre. 
ALGUACIL.  Las  senas  190 

son  estas;  mas  mentis  vos, 

que  diez  hay.    Tomad,  amigo. 

Venid  preso,  picaron. 

HOMBRE.  Que  son  ladrones  tambien. 

ALGUACIL.  Andad,  picaro  embaidor.  195 

Vase,  llevando  preso  al  ladrdn. 
PABLILLOS.         ;  Lindo  oficio  !     \  Ea,  partamos  ! 
VEJETE.  <:  Como  partir  ?    Pues,  simplon, 

echastelo  tu  a  perder, 

<j  y  quieres  parte  ? 

PABLILLOS.  ±  Pues  no  ? 

VEJETE.  En  teniendo  habilidad,  200 

y  en  sabiendo  lo  que  yo. 
PABLILLOS.          <j  Que  ?    ^  no  tengo  habilidad  ? 

Veraslo  agora. 

Ase  PABLILLOS  al  VIEJO. 
VEJETE.  Tonton, 

<i  que  haces  ? 
PABLILLOS.  Lo  mismo  que  tu 

haces.     j  Justicia  de  Dios  !  205 

Sale  el  ALGUACIL  SEGUNDO. 
ALGUACIL.  <;  Que  es  esto  ? 

PABLILLOS.  Aqueste  Vejete 


7»  TEN   SPANISH  FARCES 

que  una  bolsa  me  quit6 

con  diez  de  a  ocho.  .  . 

VEJETE.  <;  Que  dices  ? 

PABLILLOS.         y  es  encarnada,  senor. 
ALGUACIL.  <<  Viejo,  no  tienes  vergiienza,  210 

pues  a  un  pobre  labrador 

que  come  de  su  trabajo, 

le  habeis  de  hacer  extorsion  ? 

<s  Un  hombre  con  tantas  canas 

ha  de  robar  ? 
PABLILLOS.  Si,  senor,  215 

un  hombre  con  tantas  canas 

roba  a  un  pobre  labrador 

que  vive  de  lo  que  come. 

Mir  ale  las  faltriqueras,  y  le  saca  la  bolsa. 
ALGUACIL.          Tomad,  guardadla  mejor, 

que  hay  mil  ladrones. 

PABLILLOS.  <i  Y  como  ?  220 

ALGUACIL.          Y  a  este  viejo  le  hare  yo 

ahorcar  antes  de  manana.      Llevale  preso. 
PABLILLOS.          ;  Mejor  fuera  antes  de  hoy  ! 

i  Jesus,  y  que  Undo  oficio  ! 

<i  Hay  mas  linda  ocupacion  ?  225 

i  Que  haya  ningun  hombre  honrado 

que  no  se  meta  ladron  ! 

Sale  el  HOMBRE. 
HOMBRE.  \  No  os  ha  de  valer  la  chanza, 

simplonazo,  berganton, 

porque  mi  dinero  al  punto  230 

has  de  volverme,  simplon  ! 

y  si  no,  a  mojicones 

he  de  quitartelo  yo; 

que  estoy  libre. 


ENTREMES   DEL  ESPEJO  79 

Sale  el  VEJETE. 
VEJETE.  Y  yo  tambien, 

y  has  de  pagarnos,  por  Dios,  235 

la  burla  que  nos  has  hecho, 

zurrandote  aqui  los  dos. 

Cdscanle  con  los  matapecados. 
HOMBRE.  Y  llevate  esta  sotana, 

pues  has  dado  la  ocasion, 

y  asi  sufre  y  lleva  a  un  tiempo  240 

tan  gustosa  colacion. 

Cascdndose  unos  con  otros  se  meten  dentro. 


ENTREMES    DE 

JUAN   RANA  COMILON 


CASILDA. 
DOCTOR. 
CASILDA. 


DOCTOR. 
CASILDA. 

DOCTOR. 


INTERLOCUTORES 


JUAN  RANA. 

CASILDA. 

EL  DOCTOR,  vejete. 

UN  GALLEGO. 


UN  SACRISTAN. 
UN  MORO. 
UN  HOMBRE. 
[CRIADA,  VECINAS.] 


Sale  CASILDA,  y  el  DOCTOR. 

Mi  doctor,  la  merienda  va  volada. 

<j  For  que,  Casilda,  amada  ? 

Porque  aqueste  tontazo  de  Juan  Rana 

se  ha  estado  en  casa  toda  la  mafiana, 

y  la  merienda  ha  olido; 

conque  hacer  que  se  vaya  no  he  podido. 

Es  mi  marido,  y  no  puedo  mandarle; 

conque  sera  forzoso  convidarle, 

y  en  cuanto  aqui  tenemos  de  presente 

no  tiene  solo  para  untar  un  diente. 

Pues  i  no  puedes  fingir  algun  engano 

con  que  echarle  de  casa  ? 

fise  es  el  dafto, 

que,  en  oliendo  merienda,  el  majadero 
no  se  saldra,  ni  aun  a  cobrar  dinero; 
pero  el  viene. 

Yo  hare  la  diligencia; 
y  hemos  de  merendar  en  su  presencia, 
sin  que  el  coma  bocado. 

81 


82 


TEN   SPANISH   FARCES 


CASILDA.  <i  De  que  modo  ? 

DOCTOR.  Adios,  que  voy  a  disponerlo  todo; 

que  he  de  meter  en  casa  la  merienda, 

y  por  delante  del,  sin  que  el  lo  entienda.  20 

Vase,  y  sale  JUAN  RANA. 
RANA.  Deo  gracias,  Casidilla. 

i  Jesus  !  ;  todo  hoy  aqui  huele  a  pastilla! 
CASILDA.  £  Que  es  que  deds,  tonton  ?  que  aqui  no 

hay  nada. 

RANA.  Cierto,  quepienso  que  es  pastilla  asada  . . . 

CASILDA.  Pues  <J  cuando  en  vuestra  casa  hubo 

pastilla  ?    25 

RANA.  y  tira  algo  el  almizcle  a  algarrobilla. 

CASILDA.  Andad,  que  sois  un  hombre  malmirado; 

todo  el  dia  os  estais  aqui  encerrado. 


Sale  un  HOMBRE. 
HOMBRE.  ;  Juan  Rana  ! 

RANA.  Lorenzo,  amigo, 

<J  a  que  venis  aqui  con  tanta  priesa  ? 
HOMBRE.  \  Jesus,  amigo  !     <J  Que  color  es  esa  ? 

RANA.  <J  Cual  color  ? 

HOMBRE.  La  del  pafio  pardo  obscuro; 

que  estais  muy  malo  en  ella  conjeturo.        35 
RANA.  <:  Por  cual  color,  amigo  ? 

HOMBRE.  La  de  la  cara  digo; 

que  estais  muy  malo,  y  con  melancolia. 


40 


JUAN  RANA   COMILON 


45 


j  Juan  Rana,  amigo,  que  os  estais  mu- 

riendo  ! 
A  llamar  el  doctor  me  voy  corriendo. 

Vase. 

RANA.  j  Andad  con  Dios  !     <;  Hay  mas  gentil 

despacho  ? 

<2  Casilda,  habeis  oido  este  borracho  ? 
CASILDA.  j  Ay,  mi  marido  !     j  ay,  Dios,  que  se  me 

muere ! 

j  de  la  color,  ay  triste,  se  le  infiere  ! 
j  Ay,  marido  del  alma  !  £  que  te  ha  dado  ?  50 
RANA.  <J  A  mi  ?    Tres  cuartillitos   que   me   he 

echado. 

CASILDA.  Hasta  los  labios  tienes  amarillos. 

RANA.  Pues  [este]  es  la  color  de  los  cuartillos. 

CASILDA.  Deun  sudor  pegajoso  estas  banado. 

RANA.  Debio  de  estar  el  vino  remostado. 

Sale  el  DOCTOR. 

DOCTOR.  <J  Adonde  esta  Juan  Rana  ? 

CASILDA.  j  Ay  de  mi  duelo  ! 

i  que  se  muere,  senor  ! 

DOCTOR.  ;  Valgame  el  cielo  ! 

<:  Es  posible  que  un  hombre  tan  prudente, 
cuyo  juicio  es  asombro  de  la  gente, 
se  deja  asi  morir  como  una  bestia  ? 
RANA.  <J  Yo  me  dejo  morir  ? 

DOCTOR.  ^  No  es  cosa  clara  ? 

La  hipocondria  se  le  ve  en  la  cara. 
RANA.  Yo  no  suelo  lavarme  cada  dia, 

y  de  aquesto  sera  la  porqueria. 
DOCTOR.  No  es  eso;    que  esta  el  mal  en   los 

pulmones.     65 


55 


60 


84  TEN   SPANISH   FARCES 

RANA.  Yo  siempre  he  sido  amigo  de  jamones. 

DOCTOR.  Pues  <J  no  ve  que  es  danoso  este  tocino  ? 

RANA.  A  quien  mas  dafio  le  hace  es  al  cochino. 

DOCTOR.  Senora,  el  morira.     j  Dios  la  consuele  ! 

RANA.  Pues  <;  no  me  dira  usted  lo  que  me  duele  ?  70 

DOCTOR.  El  estomago  tiene  palpitando. 

RANA.  Es   la    verdad,    que    de   hambre    estoy 

rabiando; 
y  ahora  digo  que  mi  mal  es  cierto. 

DOCTOR.  Manana    a    aquestas    horas    ya    habra 

muerto; 
y  aun  no  es  posible  que  ese  tiempo  dure.  75 

RANA.  j  Senor  doctor,  por  Dios  que  usted  me  cure! 

DOCTOR.  Informadme  del  mal,  y  entrara  el  arte. 

RANA.  Senor,  yo,  de  unos  dias  a  esta  parte, 

si  va  a  decir  verdad,  me  siento  malo. 
Yo  me  acuesto  temprano,  y  me  regalo;   80 
duermo  mucho,  como,  ando  mal  dispuesto, 
y  despierto  del  lado  que  me  acuesto. 
Almuerzo  unos  torreznos,  y  esos,  buenos, 
con  una  azumbre,  poco  mas  o  menos. 
A  medio  dia  comere  un  enjambre,  85 

y,  llegando  la  tarde,  rabio  de  hambre; 
y  en  cenando  muy  bien,  me  estoy  dur- 

miendo, 
conque  sin  duda  que  me  estoy  muriendo. 

CASILDA.  <J  Que  le  parece  a  usted  de  estas  senales  ? 

DOCTOR.  ,3  Que  he  de  decir  ?  que  todas  son  mor- 

tales.  90 

RANA.  <j  Y  que  mal  es  aqueste  ? 

DOCTOR.  i  fiste  ?    Mania. 

RANA.  j  Jesus  !   j  muy  gran  mal  es  la  Estefania  ! 


JUAN   RANA  COMILON  85 

Ella  vive  alii  enfrente;  y  si  se-encara, 

puede  matar  a  un  toro  con  su  cara. 
DOCTOR.  No,  es  mania,  que  un  antojo,  95 

que  imaginais  que  veis  alguna  cosa 

y  no  la  veis;  que  es  sombra  mentirosa. 

<i  Que  veis  ahora  ? 
RANA.  A  vos  y  a  Casidilla. 

Y  ahora  digo  que  es  mi  mal  forzoso, 

pues  todo  cuanto  veo  es  mentiroso.  100 

DOCTOR.  <J  Y  no  veis  otra  cosa  ? 

RANA.  No. 

DOCTOR.  Mirad  si  es  la  fuerza  poderosa 

del  mal,  que  os  hard  ver  dos  mil  dislates; 

y  tened  cuenta  a  vuestros  disparates. 

Sale  el  MORO  con  unos  platos. 
MORO.  Bravamente  esta  asado  el  tocinillo.  105 

j  A  fe  que  he  de  comer  del,  el  morillo. 
DOCTOR.  ,;  Que  veis  ahora  ? 

RANA.  Un  moro  aqui  se  ha  entrado, 

que  trae  un  plato  de  tocino  asado. 
CASILDA.  \  Ay,  senores,  que  grande  desatino  ! 

;  En  vuestra  casa  moro  con  tocino  !  no 

RANA.  Yo  lo  huelo,  y  se  ha  entrado  en  la  cocina. 

DOCTOR.  Hombre,  que  este  es  mal  que  lo  imagina: 

y  os  morireis,  si  creeis  tal  desatino. 
RANA.  <i  No  he  de  creer  un  plato  de  tocino  ? 

DOCTOR.  Si  lo  creeis,  que  os  morireis  no  ignore,     us 

RANA.  Pues  aquesto  seria  ser  yo  el  moro. 

CASILDA.  <J  De  donde  ha  de  venir,  si  aquello  pasa, 

Un  moro  con  tocino  a  vuestra  casa  ? 
RANA.  Yo  tengo  grande  mal,  ya  caigo  en  ello; 

yo  me  muero  por  ir  a  comer  de  ello.        120 
Sale  el  SACRISTAN  con  unas  empanadas. 


86  TEN   SPANISH   FARCES 

SACRISTAN.    .     Las  empanadas  vienen  vaheando; 

por  comer  dellas  vengo  reventando. 
DOCTOR.  <J  Que  veis  ahora  con  senas  declaradas  ? 

RANA.  Un  sacristan  con  unas  empanadas. 

CASILDA.  j  Ay,  seiiores,  el  hombre  esta  a  la  muerte  !  125 

DOCTOR.  <;  Ahora  creeis  que  vuestro  mal  es  fuerte  ? 

RANA.  Dejenme  entrar  tras  ellas,  pues  las  veo. 

DOCTOR.  j  Hombre,  que  os  morireis  ! 

RANA.  Ya  yo  lo  creo. 

j  Ay,  senor,  que  este  mal  es  muy  esquivo  ! 

Ni  aun  a  la  noche  llegare  yo  vivo.  130 

Ya  se  me  desencajan  las  quijadas. 
DOCTOR.  £  No  lo  veis  ? 

RANA.  Si,  senor;  porque  empanadas, 

y  no  comellas,  viendolas  delante, 

es  cosa  de  morirme  en  un  instante. 

Mas,  senor,  <;  como  ahora  no  veo  nada  ?    135 
DOCTOR.  Es  que  a  los  ojos  no  ha  subido  el  flato, 

y  esto  subiendo  va  de  rato  a  rato. 

Dadme  el  pulso,  vere  cuando  hay  deseo. 
RANA.  Si  sois  vos,  avisadme  cuanto  veo. 

Sale  el  GALLEGO  con  una  cesta  y  una  bota. 
GALLEGO.  Aqui  vai  acei tunas,  pan,  y  vino;  140 

ya  non  posso  sofreir  mas  o  camino. 
DOCTOR.  <i  Que  veis  ahora  ?  El  pulso  manifiesta. 

RANA.  Un  gallego,  una  bota,  y  una  cesta. 

DOCTOR.  <j  Y  lo  veis  bien  ? 

RANA.  Tan  craro  llego  a  vello 

que,  si  me  dejan,  entrare  a  bebello.  145 

DOCTOR.  Pues  si  haceis  eso,  quedareis  mas  malo. 

RANA.  ;  Ay,  Dios,  que  esta  es  la  pena  del  Tantalo! 

j  Senor  doctor,  por  Dios,  que  si  lo  sabe, 

diga  si  hay  cura  para  mal  tan  grave  ! 


JUAN  RANA  COMILON  £7 

DOCTOR.  Con  cuarenta  sangrias  dilatadas,  150 

y  ochocientas  ventosas  bien  sajadas, 

sanara. 
RANA.  [Es]  aqueso  martirizarme. 

<;  Es  cura  del  Japon  la  que  ha  de  darme  ? 
DOCTOR.  Pues  para  cura  de  mayor  violencia 

ha  menester  muchisima  paciencia.  155 

RANA.  Sere  un  Job,  si  a  la  cura  le  importare. 

DOCTOR.  En  esta  silla  en  que  le  dejo  atado, 

callando  ahora,  se  ha  de  estar  sentado; 

y  aunque  vea  mil  cosas  por  su  engano, 

no  ha  de  creer  que  las  ve,  que  ese  es  el 

dafio;i6o 

porque  todo  es  antojo,  y  es  patrana. 
RANA.  Digo  que  no  creere  que  usted  me  engafia. 

DOCTOR.  Mire  que  no  ha  de  creer,  ni  hablar  palabra 

de  lo  que  viere,  pues  es  sombra  vana; 

que  con  eso  estara  sano  mafiana.  165 

RANA.  Con  un  silencio,  me  estare,  profundo; 

primero  es  mi  salud  que  todo  el  mundo. 
DOCTOR,  aparte  a  Casilda. 

(Pongan  luego  la  mesa  aqui  delante, 

que  el  miedo  que  ya  tiene  le  es  bastante 

para  dejarnos  merendar  a  solas.)  170 

RANA.  Sefior  doctor,  <;  por  que  hace  cabriolas  ? 

CASILDA.  <i  Ya  no  se  fue  el  doctor  ?  <J  hombre,  que 

dices? 

Sicrees,  y  hablas,  <;  comohas  de  estar  sano? 
RANA.  ;  Ay,  Jesus  !    ;  Dios  me  tenga  de  su  mano  ! 

i  Miren  lo  que  es  el  mal  endimonado  !       175 

que  jurara  que  aqui  se  habia  quedado. 
CASILDA.  Nina,  sacad  la  mesa  y  las  guitarras. 


88 


TEN   SPANISH   FARCES 


CRIADA.  Ya  esta  aqui  todo  puesto  y  prevenido. 

RANA.  j  Jesus' !     \  que  huerte  flauto   me  ha 

subido ! 

La  mesa  me  parece  que  han  sacado.          180 
Mujer,  <:  que  mesa  es  esta,  y  que  vecinas  ? 
CASILDA.  j  Hombre  de  Dios  !     <|  no  ves  que  lo 

imaginas  ? 

RANA.  j  Ay,  Dios,  que  he  de  morirme  muy 

apriesa ! 
porque  no  he  de  tener  en  viendo  mesa. 

Sacan  la  mesa,  sittas,  y  todo  lo  demds  de  la 
comida. 

DOCTOR.  Sentaos,  Casilda,  y  canten  lo  primero.     185 

RANA.  j  Ay,  senores,  que  comen!  ;  yo  me  muero! 

Pues  si  viendo  comer  aqui  he  de  estarme, 
antes  que  el  mal,  la  cura  ha  de  matarme. 
Musicos.  Enfermo  estaba  Juan  Rana, 

y  es  remedio  de  su  hambre  IQO 

que,  en  viendo  comer,  no  coma. 
Quien  tal  hace,  que  tal  pague. 
DOCTOR.  j  Que  bueno  esta  el  tocino! 

CASILDA.  Brindis,  doctor. 

DOCTOR.  Para  eso  se  hizo  el  vino. 

RANA.  \  Senores,  que  reviento  de  sofrillo  !  igs 

DOCTOR.  Cierto,  que  es  como  un  ambar  el  vinillo. 

RANA.  Pues,  j  juro  a  Dios  que  he  de  comer  yo 

y  todo! 

DOCTOR.  j  Hombre,  que  te  degiiellas  de  ese  modo! 

RANA.  No  importa.     ;  Muera  Marto  y  muera 

harto. 
DOCTOR.  ,2  No  ves  que  es  sombra  ? 


JUAN  RANA  COMIL6N 


89 


RANA.  De  la  sombra  parto.  200 

CASILDA.  I  Que  te  mata  el  creer  que  esto  es  fiambre. 

RANA.  Mas  vale  morir  de  harto  que  de  hambre. 

Callad,  que  me  embaraza  lo  que  hablo. 
DOCTOR.  j  Que  es  imagination,  hombre  del  diablo  ! 

RANA.  Pues  £  como  habla  el  doctor,  si  ya  se 

ha  ido  ?  205 

CASILDA.  Lo  imaginais  tambien  por  el  oido. 

RANA.  Pues  yo  tengo  de  ver,  con  sus  regalos, 

si  es  imagination  darle  de  palos.      Dale. 
DOCTOR.  i  Ay,  cielos,  que  me  mata ! 

RANA.  Calla,  hombre,  que  es  antojo  y  patarata.     210 

DOCTOR.  i  Tente,  Juan  Rana,  tente,  por  San  Pablo! 

RANA.  ;  Que  es  imagination,  hombre  del  diablo! 

CASILDA.  <i  Marido,  que  haces  ? 

RANA.  Darte  a  ti  otro  poco. 

CASILDA.  j  Ay,    que    me    mata !     j  Aqui    de    las 

vecinas  ! 
RANA.  j  Mujer   de    Dios !      <i  no  ves  que  lo 

imaginas?  215 
Salen  todos. 

TODOS.  <J  Que  es  aquesto  ? 

RANA.  Saber  mas  que  Galeno. 

Con  estos  palos  he  quedado  bueno. 
CASILDA.  j  Ay,  que  estoy  muerta! 

DOCTOR.  Y  yo  descoyuntado. 

RANA.  Oigan,  si  quieren  saber  que  ha  pasado. 

Canta.  Por  dos. 

Penso  el  buen  Doctor  220 

merendar  a  solas; 
pero  el  buen  Juan  Rana 
le  entendi6  la  trova. 
FIN. 


ENTREMES    DE 

LOS    BUNUELOS 


INTERLOCUTORES 


VEJETE. 
LORENZO. 


Dos  HOMBRES. 
Mtfsicos. 


Sale  el  VEJETE. 

VEJETE.  j  Ha,  mozo!   jha,  Lorencillo!   ;salafuera! 

j  Sal !  digo,  porque  has  de  ir  a  aquel  recado. 
i  Acaba  !    j  ven  apriesa  ! 
Dentro,  LORENZO. 

Esto  ocupado. 

VEJETE.  <J  Pues  en  limpiar  los  vidrios  tanto  tiempo 

te  estas,  Lorenzo  ?   Sal,  y  ten  buen  modo, 
que  a  mi  sobrina  has  de  llevarlo  todo, 
con  otras  zarandajas  de  regalo, 
que  ella  las  come,  y  me  entra  a  mi  en 

provecho. 
Sale  LORENZO. 

LORENZO.  j  Pardiez!  nuesamo,  ya  esta  todo  hecho. 

VEJETE.  j  O  que  honrado  que  eres  y  prudente  ! 

<i  Sacudiste  los  vidrios  ? 

LORENZO.  Lindamente. 

VEJETE.  <;  Quebraste    alguno  ?      j  Mira    que    son 

ricos ! 

LORENZO.  Ante?  los  hice  todos  mil  aiiicos. 

91 


TEN   SPANISH  FARCES 


VEJETE.  <i  Que  dices,  borrach6n  ?      j  Ya  yo  me 

aflijo ! 

LORENZO.    \_Aparte7\ 

(fil  es  el  borrachon.)     <t  Pues  no  me  dijo:  15 
«  Estos  vidrios  estan  de  polvo  llenos, 
sacudelos  muy  bien,  y  ponlos  buenos  ?  » 
Pues,  a  mi  fe,  me  puso  en  las  narices 
que  eran  los  vidrios  como  los  tapices. 
<i  Y  que  piensa  que  hice  ?    Saque  un  palo,  20 
y  al  punto,  sin  decir  bueno  ni  malo, 
a  dos  manos  les  di,  de  un  lado  y  otro, 
y  a  cuatro  o  cinco  golpes,  sin  remedio, 
por  Dios,  que  no  deje  uno  ni  medio. 

VEJETE.  j  Mucho  tengo  de  hacer,  si  no  te  mato  !      25 

£  No  dejaste  ninguno,  mentecato  ? 

LORENZO.  <i  Por  que  da  voces  ni  habra  con  enfados  ? 

Alii  estan  todos,  pero  estan  quebrados. 

VEJETE.  Mira  (no  quiero  hacer  un  desatino), 

y  dime  aquesto:  i  Hiciste  que  sangrasen    30 
a  mi  mula  ? 

LORENZO.  No,  nueso  amo,  pero  hice 

otro  remedio,  que  es  mas  importante. 

VEJETE.  ±  Qu^  es  1°  que  hiciste  ?    Ello  seran  tus 

cosas. 

LORENZO.  <i  Que  piensa   que  hice  ?     Echele   unas 

ventosas. 

VEJETE.  £  A  la  mula  ?    <J  Quien  vio  tan  grande 

exceso?  35 

LORENZO.  Pues  no  f  ue  lo  peor  eso, 

sino  que  como  a  ella  la  abrasaba 
la  estopa  y  la  ventosa  la  chupaba, 
echo  a  correr,  saliose  hacia  la  calle, 


ENTREMES  DE   LOS  BUNUELOS 


93 


y  como  no  llevaba  itenerario,  40 

en  la  casa  se  entro  del  boticario, 
y  a  coces  y  respingos  con  sus  trotes 
rompio  tantas  redomas,  tantos  botes, 
que  si  le  ponen  preito  por  cobrallos, 
nuesamo  no  tendra  para  pagallos.  45 

VEJETE.  Pues     <J  cuanto    hizo   de   dano  ?    j  dilo, 

acaba ! 

LORENZO.  En  verdad,  que  me  dicen,  sin  remedio, 

que  hizo  de  dano  mas  de  real  y  medio. 

VEJETE.  Ahora  ello  es  fuerza  que  te  perdone, 

porque  te  he  menester;  y  asi  imagina         50 
que  ahora  has  de  llevar  a  mi  sobrina, 
que  es  causa  de  mi  amor  y  mis  desvelos, 
este  plato  famoso  de  bunuelos. 
j  Cuidado  con  el  plato  !  que  es  de  plata. 
j  Mira  que  no  te  lo  hurten  ! 

LORENZO.  Si  desata          55 

el  mundo  zahories,  no  han  de  hallalle. 

VEJETE.  Mira,  Lorenzo,  vete  por  la  calle 

de  espacio,  y  mesurado 
como  quien  va  al  descuido,  y  con  cuidado. 
Y  adios,  y  anda  en  aquesto  muy  atento.    60 

Vase. 

LORENZO.  [i  Me  tiene  nuesamo  por  un  jumento  ?3 

Cierto  que  hay  hombres  tan  impertinentes 
que  quieren  hacer  bestias  a  las  gentes. 
Salen  dos  hombres. 

HOMBRE  PRIM,  [aparte  al  Hombre  Segundd}. 

\  Amigo,  lindamente  ha  sucedido  ! 

j  A  las  manos  el  lance  se  ha  venido  i  65 

Bunuelos  son,  y  de  comerlos  trato; 


94  TEN   SPANISH  FARCES 

y,  si  puedo,  despues  quitarle  el  plato 

y  darle  a  vuestra  dama  y  a  la  mia, 

sobre  el,  a  saco  a  una  confiteria. 
HOMBRE  SEG.     \_aparte  al  Hombre  Primero~\. 

Pues  empezad  la  obra,  que  yo  os  sigo.        70 
HOMBRE  PRIM,  j  Lorenzo,  Lorencico,  amigo,  amigo  ! 

j  que  yo  te  he  vuelto  a  ver  por  mas  con- 

suelo ! 

LORENZO.  <J  Ois  ?  no  lleguis  tanto  a  los  bunuelos. 

HOMBRE  PRIM.  <i  No  conoces  a  Perico  ? 

<;  Hay  tal  desconocimiento  ?  75 

<:  A  Perico  no  conoces  ? 

Mas  darte  mis  senas  quiero: 

Yo  soy  hijo  de  mi  padre, 

y  soy  nieto  de  mi  abuelo, 

y  naci  con  un  lunar  80 

en  este  zapato  izquierdo. 

<j  No  te  acuerdas  ? 
LORENZO.  i  Pese  a  tal ! 

j  y  como  que  ya  me  acuerdo  ! 

En  el  lunar  del  zapato 

luego  os  conoci  al  momento.  8s 

HOMBRE  PRIM.  \  Ha,  buen  Lorencico,  amigo  ! 

i  Mil  dias  ha  que  no  nos  vemos  ! 
LORENZO.  En  verdad,  que  ha  muchos  dias; 

y  decid,  «i  que  os  habeis  hecho  ? 
HOMBRE  PRIM.  He  corrido  mucho  mundo,  90 

yo  £y]  aqueste  companero. 
LORENZO.  Y  en  fin,  ,;  donde  habeis  estado  ? 

HOMBRE  PRIM.  En  Sevilla  y  en  Marruecos, 

en  Tetiian  y  en  Egypto, 

en  Tunez  y  en  Mondonedo;  95 


ENTREMES   DE   LOS   BUNUELOS 


95 


y  he  estado  en  Constantinopla; 

vi  al  Gran  Turco,  y  te  prometo 

que  en  ver  aquella  grandeza 

se  pasma  el  entendimiento. 

LORENZO.  £  Y  que  senas  tiene  el  Turco  ?  100 

HOMBRE  PRIM.  Es  feroz,  es  corpulento; 

pero  aquello  no  es  del  caso. 

De  lo  que  aturdido  vengo 

es  de  mirarle  comer. 
LORENZO.  <i  Que  boca  tendra  ? 

HOMBRE  PRIM.  Te  puedo  105 

asegurar  que  en  mi  vida 

he  tenido  tal  contento. 

LORENZO.  Pues,  <J  de  que  manera  come  ? 

HOMBRE  PRIM.  <;  Estas,  Lorenzo,  sin  seso  ? 

Sin  comida  no  es  posible  no 

decirtelo. 
LORENZO.  Aqui  hay  bunuelos. 

Decidmelo  ya  por  Dios, 

que  por  saberlo  reviento. 
HOMBRE  PRIM.  Mira  tu:  lo  primerito 

entran  dos  Moros  niuy  tiesos  us 

con  dos  tohallas  al  hombro, 

o  tohallas  o  panuelos, 

y  le  hacen  la  zala 

hasta  poner  en  el  suelo 

las  bocas.    Tu  no,  tu  no,  120 

porque  has  de  estarte  muy  sesgo. 
LORENZO.  j  Valgame  dios  !  como  ha  poco 

que  so  Turco,  no  lo  acierto. 
HOMBRE  PRIM.  Luego  llegan  estos  dos, 

y  con  muy  grande  respecto,  125 


96  TEN   SPANISH   FARCES 

hagamos  cuenta,  le  ponen 

este  plato  de  bunuelos 

delante;  pero  el  no  come 

ni  un  bocado. 
LORENZO.  Segun  eso 

serd  Tantalo  el  Gran  Turco.  130 

HOMBRE  PRIM.  A  el  le  sirve  de  sustento 

mirar  comer  a  los  otros, 

y  le  entra  en  muy  buen  provecho. 
LORENZO.  Eso  es  comer  por  poderes. 

Cdmese  el  primero  un  bunuelo,  y  el  otro 
le  limpia  a  LORENZO,  y  luego  el  otro  hace 
lo  mesmo,  y  LORENZO  no  come. 

HOMBRE  PRIM.  Pues  ya  que  el  plato  le  han  puesto,  135 

dice  el  uno:  «  Tome  usted,  » 

y  el  otro  le  limpia. 
LORENZO.  Quedo, 

que  me  llevan  los  bigotes. 
HOMBRE  PRIM.  Y  el  otro  dice:  «  Este  es  bueno, 

limpie  usted.  »  • 
LORENZO.  <:  Estan  borrachos  ?  140 

Los  hocicos  me  han  deshecho. 

i  Cierto  que  los  Turcos  son 

limpisimos  en  extreme ! 
HOMBRE  PRIM.  Coma  usted,  que  pocos  faltan; 

limpie  ahora. 
LORENZO.  <i  Sin  comerlo  145 

ni  beberlo  han  de  limpiarme  ? 
HOMBRE  PRIM.  Ya  no  queda  uno  ni  medio; 

pero,  <J  que  color  es  esa  ? 

Lorenzo,  amigo,  ^  que  es  eso  ? 

Decid,  <[  que  es  lo  que  sentis  ?  150 


ENTREMES  DE  LOS  BUNUELOS 


97 


LORENZO.  No  haber  comido  bunuelos. 

HOMBRE  PRIM.  No  nos  burlemos,  por  Dios, 

que  vos  os  estais  muriendo. 

i  Que  hubiesemos  de  comer 

tanto ! 

LORENZO.  Pues,  <J  que  es  lo  que  tengo  ?  155 

HOMBRE  PRIM.  Una  grande  apoplejia, 

de  lo  que  los  dos  habemos 

comido. 

LORENZO.  <j  Quienes  y  cuantos  ? 

HOMBRE  PRIM.   <J  Quienes  ?    Yo  y  mi  companero. 

<s  Que  os  dije  ya  ?     «  Y  no  comamos          160 

desto  que  mata,  Lorenzo.  » 

i  Y  que  dimos  en  hartarnos  ! 
LORENZO.  <J  De  suerte  que  la  que  tengo 

es  apoplejia  ad  honor  em  ? 

HOMBRE  SEG.     Vos  os  moris  sin  remedio.  165 

HOMBRE  PRIM.   \  O  mal  haya,  amen,  el  plato 

que  tanto  mal  os  ha  hecho  ! 

Faltome  el  mejor  amigo, 

falto  el  mozo  mas  discrete, 

que  ha  habido  en  toda  esta  tierra,  170 

y  el  criado  que  a  su  duefio 

sirvio  con  mas  elegancia. 

i  Mal  haya  el  maldito  viejo 

que  con  entregarte  el  plato 

tuvo  la  culpa  de  aquesto  !  175 

Vamonos  desesperados; 

pero  repitan  los  ecos: 
Los  Dos.  j  Mal  haya  el  vejete,  amen, 

y  mal  hayan  los  bunuelos.    Vanse  los  dos. 
LORENZO.  \  Mal  haya,  amen,  el  vejete,  180 


9»  TEN   SPANISH   FARCES 

y  mal  hayan  los  bunuelos 

que  han  acabado  conmigo  ! 

Falto  el  mozo  mas  discrete 

que  ha  habido  en  toda  esta  tierra  ! 

Sale  el  VEJETE. 
VEJETE.  <J  Que  habra  hecho  Dios  de  Lorenzo  ?         185 

<s  Si  habra  hecho  de  las  suyas  ? 
LORENZO.  j  Falto  el  criado  mas  bueno 

que  se  ha  hallado  en  todo  el  mundo, 

y  mejor  entendimiento ! 

i  Maldito  sea  el  vejete,  190 

y  descanse  en  los  infiernos 

su  alma ! 
VEJETE.  Lorenzo,  hijo, 

,;  no  me  diras  que  te  has  hecho  ? 

<i  Que  tienes  ?     <J  De  que  das  voces  ? 

<i  Y  el  presente  ? 

LORENZO.  Ya  es  preterite.  195 

VEJETE.  Pues,  £  que  lo  hiciste  ? 

LORENZO.  <J  Eso  dice  ? 

<:  No  ve  que  me  esto  muriendo 

de  una  muy  gran  poplejia  ? 
VEJETE.  <;  Que  es  lo  que  dices,  jumento  ? 

<;  Poplejia  ? 
LORENZO.  Si,  senor,  200 

que  en  deposito  la  tengo. 
VEJETE.  Yo  pienso  que  he  de  matarme. 

£  Que  es  lo  que  del  plato  has  hecho  ? 
LORENZO.  Perico  se  le  llevo, 

el  que  en  el  zapato  izquierdo  205 

tiene  un  lunar;  que  no  hay  otro 

mas  conocido  en  el  puebro. 


ENTREMES   DE   LOS   BUNUELOS 


99 


VEJETE.  j  Ya  es  fuerza  que  yo  me  mate  ! 

i  Mi  plato  de  plata! 

Salen  todos. 

HOMBRE  PRIM.  Quedo, 

no  se  mate  vuesarced, 
que  guardado  lo  tenemos. 
VEJETE.  £  Donde  ? 

HOMBRE  SEG.  En  la  confiteria; 

que  estas  damas  nos  pidieron 
eolation,  y  fue  forzoso, 
por  hallarnos  sin  dinero, 
empenarlo  en  vuestro  nombre. 
VEJETE.  Senores,  del  mal  lo  menos. 

HOMBRE  PRIM.   Pues,  la  burla  se  celebre 

con  un  baile. 
VEJETE.  Soy  contento. 

Canta  UNA  MUJER: 
A  Lorenzo  por  eso 
no  rinan  mucho, 
que  comio  los  bunuelos  . 
LORENZO.  como  el  Gran  Turco. 


210 


215 


EL    HAMBRIENTO 


ENTREMES 


PERSONAS 


DON  LA.ZARO. 

DON  JOAQUfN. 


VEJETE. 

DONA  EscoxopfA. 


Salen  DON  LAZARO  y  DON  JOAQUIN. 

D.  LAZARO.         Dejadme,  Don  Joaquin,  que  estoy  sin 

juicio. 
D.  JOAQUIN.       Don  Lazaro,  callad,  que  hablais  de  vicio. 

<;  Que  os  falta  que  asi  haceis  exclama- 

ciones  ? 
D.  LAZARO.         Escuchadlo  y  direlo  en  dos  razones. 

Ya  sabeis  que  yo  soy  un  estudiante  ...        5 
D.  JOAQTJIN.       Ya  se  que  no  sois  mas;  pasa  adelante. 
D.  LAZARO.         que  aprendi  en  Salamanca 

la  ciencia  infusa  del  andar  sin  blanca. 

De  aquesto,  pues,  resulta 

que  tengo  todo  el  ano  una  hambre  oculta,  10 

un  hambre  estudiantina 

que  pasa  mas  alia  de  la  canina. 

Hambre  despierto;  soy  hambre  si  enfermo; 

hambre    tengo    en     salud;     hambre,    si 

duenno; 

y  en  fin,  porque  os  asombre  is 


102 


TEN   SPANISH   FARCES 


mi  hambre  cruel,  ayer  jugando  al  hombre, 
(como  tenia  una  hambre  tan  fiambre) 
por    decir:     « Hagome    hombre,  »    dije: 
«  Hagome  hambre; » 
que  como  nada  emboco, 
en  cualquiera  materia  me  equivoco.  20 

D.  JOAQUIN.        j  Por  cosas  de  comer  un  hombre  honrado 
se  ha  de  matar  ! 

D.  LAZARO.  i  Jesus,  y  que  menguado  ! 

,1  Si  no  me  mato  por  lo  que  me  mata, 
renir  por  lo  demas  no  es  patarata  ? 

D.  JOAQUIN.        Pues,  Don  Lazaro,  cesen  los  extremos,        25 
que  yo  os  quiero  llevar  donde  matemos 
vuestra  hambre  y  la  mia; 
que,  aunque  la  mia  es  grande,  es  cobardia 
darla  a  entender.      Sabed,  pues,  que  un 

vejete 

que  llaman  Don  Martin  hoy  nos  promete  30 
grande  condumio.     El  cielo  nos  socorra; 
que  el  tiene  media  capa,  y  yo  una  gorra. 
Tiene  una  hija  que  ha  de  ser  mi  esposa, 
si  la  puedo  pescar. 

D.  LAZARO.  i  Que  linda  cosa  ! 

D.  JOAQUIN.       Hija  y  dineros  guarda. 

D.  LAZARO.  i  Caso  extrano  !      35 

D.  JOAQUIN.       Hoy  sacareis  el  vientre  de  mal  afio. 

Tiene  el  vejete,  amigo,  buenos  tratos: 
lo  menos  que  se  come  son  diez  platos, 
sin  principios  ni  postres.  Fruta  seca  .  . . 

D.  LAZARO.        La  boca  se  me  hace  una  manteca.  40 

D.  JOAQUIN.       Tiene  tambien  comida  regalada: 
el  ave  cerindongo  en  empanada; 


EL  HAMBRIENTO 


103 


y  porque  su  franqueza  sea  notoria, 

del  ave  zancas  tiene  pepitoria; 

marfrodios,  pep'ianes,  mas  de  ciento,  45 

sin  otras  mil  cosillas  que  no  cuento. 
D.  LAZARO.         \  No  me  las  relateis,  con  treinta  diablos  ! 

Antes  del  juego  no  me  hagais  retablos. 

i  Al  viejo,  amigo  ! 

D.  JOAQUIN.  i  Al  viejo  ! 

D.  LAZARO.         j  Y  a  sacar  de  mal  hambre  este  pellejo  !      50 
Vanse,    y    sale   el   VEJETE   y  DONA 

ESCOTOFIA. 
VEJETE.  ;  Hija  mia,  Escotofia  ! 

i  Ah,  Escotofia  !  j  ah,  muchacha  ! 
D.a  ESCOTOFIA.  <J  Que  es  lo  que  mandas,  senor? 
VEJETE.  <;  Que  hora  es  ? 

D.a  ESCOTOFIA.  La  que  sefiala 

el  reloj  de  Santa  Cruz.  55 

VEJETE.  No  puede  ser. 

D.a  ESCOTOFIA.  <i  For  que  causa  ? 

VEJETE.  Porque  ya  hubiera  venido 

aquel  soldado  que  es  sarna, 

que  come  a  las  doce  en  punto 

de  mi  puchero  que  rabia.  60 

D.a  ESCOTOFIA.  «  Hetele  por  donde  viene 

el  moro  por  la  calzada.  » 
VEJETE.  Pues,  cuidado  con  lo  dicho. 

D.a  ESCOTOFIA.  Ya  estoy  en  el  caso.  Vase. 

VEJETE.  Brava 

la  ha  de  tragar  esta  vez  65 

el  tal  que  todo  lo  traga. 

Salen  DON  JOAQUIN  y  DON  LAZARO. 
D.  JOAQUIN.        ;  Oh  mi  senor  Don  Martin  ! 


104 


TEN   SPANISH  FARCES 


Conozca  a  mi  camarada 

por  hombre  muy  eminente, 

y  hombre  de  ciencia  tan  rara  70 

que  en  su  ciencia  alza  figura 

cada  vez  que  se  levanta. 
D.  LAZARO.        Tengame  usted,  senor  mio, 

por  una  pobre  gualdrapa 

de  su  mula,  pues  que  cura  75 

de  una  enfermedad  tan  larga 

como  Don  Joaquin  y  yo 

traemos  hoy  a  su  casa. 
D.  JoAQufN.        Tendreis  un  criado  m£s. 
VEJETE.  Cada  dia  honrarme  trata  80 

de  nuevo  el  seor  Don  Joaquin; 

y  hoy  son  las  honras  dobladas 

con  tan  noble  convidado. 
D.  JoAQufN.       Es  su  franqueza  extremada. 
VEJETE.  Vuesas  mercedes  se  sienten,  85 

entretanto  que  se  saca 

la  vianda.     j  Ola,  ola  ! 

Sientanse  los  tres  en  la  mesa  que  sacan  con 

manteles  sdlo. 
D.  LAZARO  \_aparte  a  D.  Joaquin}. 

(Don  Joaquin.) 
D.  JOAQUIN  [aparte  a  D.  Ldzaro~}. 

(<i  Que  quereis?) 
D.  LAZARO  [_aparte  a  D.  Joaquin}.  (Basta, 

que  se  nos  va  la  comida.) 
D.  JOAQUIN  [aparte  a  D.  IAzaro~}. 

(<i  Por  que?) 
D.  LAzARO  [aparle  a  D.  Joaquin}. 

(Porque  esta  oleada.)  go 


EL  HAMBRTENTO  10$ 

D.  JOAQUIN  [aparte  a  D.  Ldzaro}. 

(j  Callad,  por  amor  de  Dios, 

que  no  sabeis  en  la  casa 

que  estais !) 

Sale  DONA  ESCOTOFIA. 

D.a  EscoTOFiA.  <j  Que  mandais,  seftor  ? 

VEJETE.  Sacad  aqui  la  vianda. 

<;  Que  manteles  habeis  puesto  ?  95 

D.a  EscoToriA.  Los  sucios. 
VEJETE.  Id  noramala, 

y  sacad  manteles  limpios. 

Saca  DONA  ESCOTOFIA  lo  que  dicen  los  versos. 
D.  LAZARO.         ±  Senor,  con  estos  no  basta  ? 

Buenos  son  estos. 
VEJETE.  <j  Que  pan 

es  aqueste  ? 
D.a  EscoTOFfA.  El  que  se  amasa  100 

en  casa. 
VEJETE.  Traed  panecillos; 

que  en  un  dia  que  esta  honrada 

mi  mesa  de  estos  senores 

no  ha  de  haber  falta. 
D.  LAZARO.  La  falta 

es  la  que  ahora  nos  hace.  105 

Haga  usted  que  el  pan  se  traiga. 

Muy  bueno  es  aquel. 
D.  JOAQUIN  [aparte  a  D.  Lazaro].        (\  Callad, 

que  no  sabeis  en  la  casa 

que  estdis !) 
D.  LAZARO  [aparte  a  D.  Joaquin}. 

(No  es  mala  la  moza; 

pero  la  hambre  que  es  mala  no 

no  repara  en  hermosuras.) 


106  TEN    SPANISH  FARCES 

Saca  DONA  EscoTorfA  un  plato  cubierto. 
VEJETE.  <j  Que  es  aqueso  ? 

D.a  ESCOTOFIA.  Una  tortada. 

VEJETE.  j  Tortada  !    \  hay  tal  desatino  ! 

<i  A  los  principios  quien  gasta 

tortada?    Ustedes  perdonen;  115 

que  es  Escotofia  una  zafia, 

y  no  se  le  alcanza  de  esto. 

Vase  DONA  ESCOTOFIA. 
D.  LAZARO.         Tampoco  a  mi  se  me  alcanza. 

Pues,  digame  usted,  senor, 

I  hay  cosa  como  tortada  120 

para  el  principle  ? 
D.  JOAQUIN  [aparte  a  D.  Ldzaro],    (\  Callad, 

que  no  sabeis  en  la  casa 

que  estais !) 
D.  LAZARO.  Senor  Don  Martin, 

haga  usted  que  el  pan  se  traiga. 
VEJETE.  Vuesa  merced  es  muy  mozo,  125 

y  asi  experiencias  le  faltan 

de  esta  materia. 
D.  LAZARO.  Es  verdad; 

esta  experiencia  me  falta. 

Sale  DONA  ESCOTOFIA  con  otro  plato. 
VEJETE.  <J  Que  traeis  en  ese  plato  ? 

D.a  ESCOTOFIA.  Sefior,  jigote. 
VEJETE.  j  Hay  tal  rabia  130 

como  esta !    Bergantona, 

<i  no  sabeis  que  no  se  gasta 

el  jigote  a  los  principios 

en  ninguna  mesa  honrada  ? 
D.  LAZARO.         j  For  amor  de  Dios,  senor !  135 


EL  HAMBRIENTO 


107 


Pues  (!  el  jigote  le  enfada 

a  vuesa  merced? 
D.  JOAQUIN  [aparte  a  D.  Ldzaro].     (j  Callad, 

que  no  sabeis  en  la  casa 

que  estais !) 
D.  LAZARO.  <;  Que  quereis  que  calle, 

cuando  oigo  que  se  habla  140 

tan  mal  del  jigote,  siendo 

personaje  que  se  gasta 

desde  aquella  gran  comida 

que  dio  la  gran  Cleopatra 

a  Marco  Antonio,  y  la  cena  145 

que  Baltasar  dio  en  Samaria? 
VEJETE.  Senor,  usted  se  reporte, 

y  repare  .  .  . 
D.  LAZARO.  i  Pesie  a  mi  alma  ! 

i  Reportarme  sin  comer  ! 

;  Haga  usted  que  el  pan  se  traiga,  150 

que  en  todo  el  mundo  se  pone 

al  principio  ! 
Sale  DONA  ESCOTOFIA  con  un  plato 

cubierto. 
D.a  ESCOTOFIA.  Una  empanada 

de  ternera,  si  gustais, 

traere. 
VEJETE.  j  Andad,  noramala  ! 

i  Empanada  de  ternera  !  155 

i  Quien  lo  ha  visto  ? 

Vase  DONA  ESCOTOFIA  con  el  plato. 
D.  LAZARO.  Usted  la  traiga; 

y  cueste  lo  que  costare, 

que  tengo  un  hambre  que  es  plaga. 


108  TEN    SPANISH  FARCES 

fintrase  DONA  EscoToriA. 
VEJETE.  Ahora  traeran  la  olla; 

y  vuesascedes  las  faltas,  160 

como  amigos,  me  perdonen; 

pues  ven  con  llaneza  tanta 

cuanto  lo  soy. 
D.  LAZARO.  No  entendi 

que  la  amistad  era  tanta. 
VEJETE.  <i  No  traes  aquesa  olla  ?  165 

Sale  DONA  ESCOTOFIA  asustada. 
D.a  ESCOTOFIA.  Sefior,  un  perro  y  su  rnaza 

dieron  con  olla  y  con  todo 

en  la  ceniza  y  las  brasas. 
VEJETE.  j  Ya  no  se  puede  sufrir, 

por  Dios,  desvergiienza  tanta  !  170 

Levdntase  y  va  tras  ella. 

\  Esperad,  infame ! 

D.a  ESCOTOFIA.  i  Ay,  Dios  ! 

VEJETE.  j  Cual  quedan  los  camaradas  ! 

fcntrase  DONA  ESCOTOFIA,  y  el  VEJETE 

detrds. 
D.  JoAQUfN.        j  Vive  Dios!  que  es  mucho  enfado, 

y  que  ya  pasa  de  raya; 

y  estoy  por  hacer  . . . 
D.  LAZARO.  i  Callad,  175 

que  no  sabeis  en  la  casa 

que  estais ! 

D.  JoAQUfN.  i  Callad,  con  el  diablo  ! 

D.  LAZARO.         Senores,  yo  me  espantaba 

de  que  a  una  hambre  tan  valiente 

hubiese  quien  la  matara.  180 

D.  JoAQUfN.       j  Vive  Dios,  que  estoy  corrido  ! 


EL  HAMBRIENTO 


IOQ 


D.  LAZARO.        i  Callad,  que  hay  en  esta  casa 

veinte  platos,  fruta  seca, 

pep'ianes,  aves  zancas, 

morfrodios,  y  otras  mil  cosas  !  185 

D.  JoAQufN.      Amigo,  a  nuestra  venganza. 

Vamos,  que  pienso  que  el  viejo 

ya  se  ha  salido  de  casa 

a  dar  cuenta  de  esta  burla. 
D.  LAZARO.         La  ocasion  es  extremada  190 

para  pescarle  la  bolsa 

y  la  moza. 

D.  JoAQulN.  Pues,  j  al  arma  ! 

D.  LAZARO.        Y  yo  quito  los  manteles, 

pues  la  comida  se  tarda. 

Vanse,  y  se  tteva  los  manteles,  y  sale  el 

VEJETE. 
VEJETE.  Dando  el  Alcalde  y  el  Cura  195 

quedan  dos  mil  carcajadas 

de  los  tales  convidados. 

No  volveran  mas  a  casa. 

Pero  ya  han  desocupado, 

si  no  me  engano,  la  sala.  200 

j  Que  gustosos  habran  ido  ! 

i  Dona  Escotofia  !    j  Ah,  muchacha  ! 

Saca  la  comida  presto. 

<j  Escotofia,  a  que  aguardas  ? 

<i  No  respondes  ?   <i  que  es  aquesto  ?          205 

i  Vive  Dios,  que  ha  sido  maula  ! 

que  me  han  robado  a  mi  hija; 

y  aun  peor  esta  que  estaba, 

que  el  escritorio  esta  abierto. 

Ire  a  vengar  esta  infamia.  210 


HO  TEN   SPANISH  FARCES 

i  Justicia,  cielos,  justicia! 
i  Venganza,  cielos,  venganza! 

Vase,  y  salen  los  demds. 

Los  TRES.  j  Huyamos,  que  el  viejo  viene  ! 

D.a  ESCOTOFIA.  Presto,  pues,  que  nos  alcanza. 

Sale  el  VEJETE. 

VEJETE.  \  Aqui  morireis,  traidores !  ais 

D.  LAZARO.        Tengase,  que  es  un  panarra; 
que  ya  es  mi  mujer  su  hija. 
VEJETE.  <i  Y  el  dinero  ? 

D.  LAZARO.  Ella  os  lo  guarda. 

VEJETE.  £  Y  la  merienda  ? 

D.  JOAQUIN.  Tambien. 

VEJETE.  Pues  todo  se  queda  en  casa,  220 

senores,  del  mal  lo  menos. 
i  Vaya  ahora  de  fiesta,  vaya  ! 
D.  LAZARO,  cantando. 

Aqui  tiene  a  su  hija, 
vejete  honrado; 

y  aunque  nada  he  comido,  225 

mucho  he  tragado. 
D.a  ESCOTOFIA,  cantando. 

Cese  la  peleona, 
que  son  extremes ; 
porque  los  miserables 
paran  en  eso.  230 


LAS  TERTULIAS   DE   MADRID 

o 
EL  FOR  QUE  DE  LAS  TERTULIAS 

FOR 

RAMON  DE  LA  CRUZ  Y  CANO 
1731-1794 


RAMON  DE  LA  CRUZ 


AUTOR  DE  LAS  TERTULIAS  DE  MADRID 

De  un  cuadro  contempordneo 


LAS    TERTULIAS    DE    MADRID 


EL  FOR  QUE  DE  LAS  TERTULIAS 


RAMON  DE  LA  CRUZ  Y  CANO 


PERSONAS 


D.  JUAN,  caballero  prudente. 
DONA  INES,  su  esposa. 
DONA  PETRONILA,  hermana  de  esta. 

D.  CIRILO. 
D.  MANUEL. 
D.  PABLO. 

Tertuliantes. 

D.  LOTS,  buen  ami 
DONA  LAURA. 
DONA  ANA. 

50  de  la  casa. 
Petimetras  de  la 

Dos  ABATES. 
D.  GIL.       }  M 
D.  ANTON.  / 

edicos 

DONA  FRANCISCA. 
DONA  JUANA. 

D.  JOAQUfN.     1 

D.  PEPITO.       \  Tf 
D.  LUCAS. 

tertulia. 
rtuliantes. 

UN  CIRUJANO. 
PATRICIA,  criada. 
PERICO,  paje. 
OTRAS  CRIADAS,  y 
CRIADOS. 

La  escena  es  en  Madrid. 
Sola  en  casa  de  D .  JUAN,  con  sus  adornos  correspondientes. 

Sale  DONA  INES  muy  petimetra,  y  llorando  con  grandes 
extremes,  y  DONA  PETRONILA  consolandola. 


INES. 


j  Que  a  mi  me  suceda  esto  ! 
j  Hay  mujer  mas  desgraciada 
en  el  mundo  !     <J  Que  sera 
luego  de  mi  ? 

"3 


114  TEN   SPANISH   FARCES 

PETRONILA.  j  Vaya,  vaya, 

que  lance  mas  de  repente 

no  puede  darse ! 
INES.  j  Ay,  hermana, 

yo  estoy  muerta ! 
PETRONILA.  Yo  tambien 

estoy  medio  atolondrada; 

pero  <J  ya  que  se  ha  de  hacer  ? 
INES.  j  Valgame  Cristo  !  \  muchacha  ! 

PATRICIA  sale. 

<i  Han  traido  la  gallina  ? 
PATRICIA.  Si,  sefiora;  mas  tan  flaca 

que  toda  ella  no  es  posible 

que  pueda  dejar  sustancia 

para  dos  tazas  de  caldo.  Vase. 

INES.  No  hay  cosa  que  asi  no  saiga 

deprisa.  A  Petronila. 

<J  Dijiste  a  Pedro 

que,  si  acaso  no  encontraba 

nuestro  medico,  trajese 

al  primero  que  encontrara  ? 
PETRONILA.        Si. 
INES.  Pues  \  por  Dios,  Petronila, 

que  te  estes  junto  a  la  cama 

in  term  viene  algun  hombre. 
PETRONILA.        <J  Yo  ?    Mujer,  ,1  por  que  no  llamas 

a  las  vecinas  ? 
INES.  i  Sabiendo 

cuanto  ha  que  estoy  enojada 

con  todas  ellas,  querias 

que  yo  me  baje  a  llamarlas, 

y  quede  por  mi  ?    j  Aunque  viese 


LAS   TERTULIAS   DE   MADRID 


morir  a  toda  mi  casta, 
no  hiciera  tal  bastardia  ! 
ninguna  a  tiesa  me  gana. 

PETRONILA.        Y  si  a  tu  marido  en  tanto 
los  accidentes  se  agravan, 
,j  que  hemos  de  hacer  aqui  solas 
cuatro  mujeres? 

INES.  Pues  anda, 

y  ten  cuidado  con  el, 
hija,  que  a  mi  me  quebranta 
el  corazon.     j  Ay  de  mi ! 
<j  que  sera  de  mi  si  el  falta  ? 

PETRONILA.         Sera  lo  que  ha  sido  de  otras; 
a  bien  que  aun  eres  muchacha, 
y  no  estas  desnuda.    Tu 
en  todo  caso  embanasta 
lo  que  puedas  en  los  cofres 
y  asegura  las  alhajas 
de  valor,  o  yo  lo  hare, 
que  tu  no  estas  para  nada. 

PATRICIA.    Sale  con  una  luz. 

Tengan  ustedes  muy  buenas 
noches. 

INES.  i  Como  esta  ? 

PATRICIA.  Con  ansias 

de  vomitar,  y  no  puede; 
mira  a  todos,  y  no  habla; 
si  le  preguntan,  responden 
a  dos  manos  las  punadas, 
y  hace  mil  gestos  con  las 
facciones  desencajadas. 
i  Miedo  da  el  verle  ! 

PETRONILA.     Sale.  Las  Haves 


35 


40 


45 


Vase. 


55 


"6  TEN   SPANISH  FARCES 

del  dinero  y  de  la  plata 
las  tiene  el  ? 
INES.  Las  lleva  en  una 

faltriquera  reservada  60 

de  los  calzones. 

PETRONILA.  Pues  voy 

a  ver  si  puedo  con  mafia, 
como  que  saco  de  alii 
la  ropa  ociosa,  afianzarlas.  Vase. 

PATRICIA.  j  Ay,  amo  mio !  Vase. 

INES.  j  Ay  de  mi !  6S 

Luis.    Sale.        <j  Como  teneis  la  antesala 

sin  luz,  y  abierta  la  puerta  ? 
INES.    Le  abraza,  llorando. 

\  Ay,  Senor  Don  Luis  de  mi  alma, 
que  mi  marido  se  muere  ! 

Luis.  Primero  yo  imaginara  70 

que  era  usted  la  que  queria 
morirse,  segun  la  estrana 
action  de  estos  agasajos; 
pues,  entrando  en  esta  casa 
tantos,  de  tantos  yo  soy  7S 

solo  el  hombre  que  la  enfada 
de  la  tertulia. 
INES.  Tal  vez 

vuestra  seriedad  nos  cansa, 
como  toda  es  gente  alegre; 
pero  enfadarme,  no. 
Luis.  Y  vaya,  80 

<J  que  teneis  ?   <J  por  que  llordis  ? 
IN£S.  ,;  No  os  digo  que  esta  en  la  cama 

Don  Juan  con  un  accidente 


LAS   TERTULIAS  DE   MADRID 


117 


mas  ha  de  dos  horas  largas, 

y  todos  estamos  muertos  ?  85 

Luis.  <i  Y  estais  con  esa  cachaza  ? 

<:  Y  quien  esta  dentro  ? 
INES.  Nadie. 

Luis.  <j  Y  el  paje  ? 

INES.  Buscando  anda 

por  ahi  medicos.    Entrad, 

pues  no  ignorais  cuanto  os  ama.  90 

Quiza  solo  vuestra  vista 

le  dara  alivio. 

Luis.  i  Y  la  hermana  ? 

INES.  Adentro. 

Sale  PEDRO  de  paje,  cansado,  que  no 

puede  hablar. 

PEDRO.  j  Jesus,  Maria  ! 

INES.  £  Hallaste  al  medico  ? 

PEDRO.  Estaba 

en  su  tertulia  .  .  .  ya  han  ido  95 

a  llamarle  .  .  .  pero,  gracias 

a  Dios  .  .  .  halle  otro  .  .  . 

Luis.  <j  Y  no  viene  ? 

PEDRO.  Si  no  puedo  echar  el  habla. 

Luis.  <J  Y  quien  es  ? 

PEDRO.  Don  Gil  Ventosa. 

Luis.  El  medico  de  mi  casa,  too 

justamente;  \  gran  pulsista  ! 
PEDRO.  Conmigo  viene. 

D.  GIL.    Sale  de  medico.  Madama, 

a  los  pies  de  usted.    Amigo. 
Luis.     .  Senor  Don  Gil. 

GIL.  £  Es  desgracia 


Il8  TEN  SPANISH  FARCES 

o  accidente  ?  pues  segun  105 

la  prisa  con  que  me  arrastra 

este  criado  . . . 
INES.  Entre  usted, 

que  yo  ni  aun  mover  las  plantas 

puedo.     j  Ay  de  mi ! 

GIL.    Se  sienta.  ±  Que  ha  sido  esto  ? 

INES.  .  Dentro  hallareis  a  mi  hermana  no 

que  os  informara. 
Luis.  Venid, 

que  yo  soy  de  confianza 

del  enfermo. 

GIL.  <i  Que  es  el  amo  ? 

Luis.  Si,  senor. 

INES.  Don  Luis,  que  se  haga 

cuanto  haya  que  hacer,  y  usted  115 

disponga  como  en  su  casa. 

Luis.  Entrad.  Vanse. 

INES.  Lo  que  siento  mas 

es  tener  desazonada 

esta  noche  la  tertulia. 

Bien  pudieras  avisarla,  120 

Periquillo,  en  un  instante, 

y  decirla  lo  que  pasa. 
PEDRO.  j  Pues  vaya  que  son  poquitos 

para  avisarlos  !    Ya  llaman. 
INES.  Mira  quien  es.     j  Ojala  125 

que  esta  noche  me  dejaran  ! 
LAURA.    Sale.    £  Hija,  que  es  esto  ?  <i  tan  sola 

y  tan  apesadumbrada  ? 
INES.  j  Ay,  Laurita,  se  acabo 

para  mi  el  mundo! 


LAS   TERTULIAS  DE   MADRID  IIQ 

ANTON.  Sale  de  medico.  Deo  gracias,  130 

<s  que  tenemos  ?     <J  Volvio  usted 

a  hartarse  de  leche  helada 

despues  de  haberse  comido 

dos  medidas  de  azofaifas 

y  tres  libras  de  acerolas  ?  135 

IN£S.  No,  senor,  es  mayor  causa 

para  la  que  os  llamo.    Entrad 

vereis  a  Don  Juan  en  cama 

con  un  accidente. 
ANTON.  i  Fuego ! 

<J  y  os  estais  tan  sosegada  ?  140 

INES.  Otro  hay  dentro  con  Don  Luis; 

porque  como  usted  tardaba, 

vino  el  primero  que  hallamos. 
ANTON.  Bien  hecho. 

Luis.    Sale  de  prisa  y  en  cuerpo. 

Perico,  marcha 

a  llamar  al  cirujano.  145 

PEDRO.  ;  Que  no  alquile  tambien  patas 

quien  alquila  pantorrillas  !  Vase. 

Luis.  Justamente  preguntaba 

por  usted  el  companero. 
INES.  <J  Y  que  dice  ? 

Luis.  Hasta  ahora,  nada.  150 

INES.  j  Por  Dios,  que  yo  en  usted  solo 

pongo  toda  mi  esperanza  ! 
ANTON.  Yo  pondre  los  medios. 

Luis.  Vamos, 

que  la  urgencia  es  apretada. 

Vanse  los  dos. 
LAURA.  Yo  he  quedado  muerta. 


120 


TEN   SPANISH  FARCES 


INES.  <J  Y  c6mo  155 

estara  esta  desdichada, 

contra  quien  todas  las  iras 

de  tanto  golpe  descargan  ? 
LAURA.  \  Jesus,  Jesus  ! 

Salen  de  petimetras  DONA  ANA,  DONA 
FRANCISCA,  DONA  JUANA,  D.  JOAQU!N, 
y  dos  ABATES  a  la  moda. 

FRANCISCA.  Me  parece 

noche  de  semana  santa  160 

aqui,  segun  el  silencio. 
ANA.  Si  hablais  cosa  reservada, 

no  os  incomodeis. 
FRANCISCA.  <i  O  somos 

o  no  amigas  confirmadas  ? 
JOAQUTN.  i  Que  llora  usted,  mi  seiiora  165 

Dona  Ines  ? 

LAS  TRES.  d  Hija,  estas  mala  ? 

INES.  No,  por  Dios,  sientense  ustedes. 

PETRONILA.    Sale. 

Dame  las  Haves  del  area 

de  nogal. 
INES.  Tomalas  todas; 

y  haz  cuanto  te  de  la  gana  170 

en  todo  y  por  todo.     j  Ay  ! 

Suspenses  todos. 

ANA.  £  Sabes  tu  que  es  esto,  Juana  ? 

INES.  j  Ay ! 

ABATE  PRIM.  Senoras,  <j  que  hay  de  nuevo  ? 

PETRONILA.        Que  salio  bueno  de  casa 

esta  tarde  mi  cunado,  175 


LAS   TERTULIAS   DE   MADRID 


121 


y  volvio  luego  con  tanta 

fatiga  que  la  escalera 

dice  que  la  subio  a  gatas. 

Venia  tremulo;  mando 

que  se  le  hiciese  la  cama;  180 

se  la  hicieron;  acostose 

tan  torpe  que  las  criadas 

tuvieron  que  desnudarle; 

y  al  echar  sobre  la  almohada 

la  cabeza,  se  quedo  185 

sin  sentidos  y  sin  habla, 

con  un  terrible  accidente. 

TODOS.  jValgame  Dios  !     \  Que  desgracia ! 

Luis.    Sale.        j  Jesus,  y  que  confusion  ! 

<:  Hay  por  ahi  una  garrafa,  190 

Dona  Petronila  ? 
PETRONILA.  Adentro 

os  la  daran  las  criadas.  Vase. 

JUANA.  £  Como  va  el  enfermo  ? 

Luis.  Mai; 

lo  mismo  esta  que  se  estaba.  Vase. 

ANA.  j  Que  atento  es  el  tal  Don  Luis  !  195 

ABATE  SEG.        A  nadie  dijo  palabra. 
JOAQUIN.  j  Gran  fachenda  ! 

FRANCISCA.  Es  un  cuidado 

mayor  el  que  ahora  le  llama; 

yo  le  disculpo. 

LAURA.  Yo,  no. 

JUANA.  Siempre  es  asi. 

INES.  Mira,  Frazca,  200 

yo  voy  a  dar  una  vuelta, 

y  a  saber  que  es  lo  que  pasa 

alia  dentro. 


122 


TEN   SPANISH  FARCES 


FRANCISCA.  No  hagas  tal, 

hija,  <;  no  esta  alii  tu  hermana, 

los  medicos,  y  Don  Luis  ?  205 

INES.  Y  a  saber  por  que  no  sacan 

de  refrescar. 

LAURA.  Eso,  si. 

INES.  Por  Dios,  te  encargo  que  haya 

silencio. 
ANA.  Vete,  que  bien 

sabes  a  quien  se  lo  encargas.  210 

LAURA.  Hija,  en  estos  lances,  y  entre 

personas  de  confi'anza, 

no  te  andes  con  chocolate, 

meriendas  ni  pataratas; 

lo  primero  es  lo  primero  215 

que  se  ha  de  cuidar;  y  basta 

con  que  saquen  una  fuente 

de  fruta,  alguna  fritada, 

o  torreznos. 
FRANCISCA.  <;  Tienes  lomo 

fresco  ? 
INES.     Se  levanta.         Voy  a  que  lo  hagan  220 

freir. 
ANA.  A  mi,  chocolate, 

que  hoy  estoy  desazonada. 
JUANA.  Yo,  mi  media  rosca  tierna, 

y  mi  punado  de  pasas, 

como  siempre. 
FRANCISCA.    Aparte.  (\  Habra  mujeres  225 

mas  imprudentes !) 

ABATE  PRIM.    A  gritos.  \  Que  llaman  ! 

INES.  .        Sirvanse  ustedes  de  abrir, 

que  adentro  estan  ocupadas.  Vase. 


LAS   TERTULIAS   DE   MADRID 


I23 


FRANCISCA. 
LAURA. 


Luis.    Sale. 

PEDRO. 

Luis. 


CIRUJANO. 

LUCAS. 

CIRILO. 

JOAQUIN. 

LUCAS. 

FRANCISCA. 

JOAQUIN. 


LAS  MUJERES. 
ABATE  PRIM. 
JOAQUIN. 
JUANA. 
ABATE  SEG. 


Yo  he  quedado  lela. 

Yyo 

aun  estoy  toda  asustada.  230 

Va  uno  de  los  tres  a  abrir,  y  luego  sale 
PEDRO  con  el  CIRUJANO  y  DON  LUCAS 
y  D.  CIRILO  de  tertuliantes,  con  capa 
y  gorro. 

,j  Ha  venido  el  cirujano  ? 

Aqui  le  traigo  ya. 

j  Gracias 

a  Dios  !    Entre  usted  corriendo, 

que  ya  ha  rato  que  hace  falta. 


Ahora  acaban  de  avisar. 
Buenas  noches,  camaradas. 
Adios,  senores. 

I  Sabeis 
la  novedad  ? 

Ahora  acaba 
de  contarnosla  Perico. 
Senores,  lo  que  se  encarga 
es  el  silencio. 

Para  eso, 

y  para  hacer  menos  larga 
una  visita  de  enfermo, 
se  yo,  amigos,  una  brava 
receta. 

<:  Como  ?  <;  que  cosa  ? 
Di,  <i  cual  es  ? 

Pelar  la  pava. 
Pero  hablar  quedito. 

Cuanto 
mas  quedo,  mejor  pelada. 


Se  entran.     235 


Se  sientan. 


240 


245 


124 


TEN   SPANISH  FARCES 


Luis.    Sale. 


JOAQUfN. 

Luis. 

FRANCISCA. 
Luis. 

JOAQUIN. 


<j  Saben  ustedes  si  acaso 

deje  yo  por  ahi  mi  capa  ? 

Ya  la  veo.  Se  la  pone. 

i  Donde  vas  ? 
A  traer  una  tipsana 
que  han  recetado. 

<j  Y  que  dicen  ? 
No  dan  muchas  esperanzas.  Vase. 


250 


<i  Esperanzas  ?     j  Esa  es 

una  comida  muy  cara  ! 
ABATE  PRIM.      Yo  se  quien  las  tiene  buenas, 

solo  que  no  quiere  darlas. 
ABATE  SEG.    A  Laura,  fisgando. 

I  Tiene  usted  muchas  ? 

LAURA.  jY  gordas ! 

ABATE  SEG.        Asi  usted  me  regalara 

unas  poquitas. 
FRANCISCA.  Silencio, 

que  esta  no  es  noche  de  chanzas. 
CIRILO.  j  Que  cabezas  ! 

LUCAS.    Aparte  los  dos.  (De  aqui  a  un  poco, 

yo,  amigo,  cojo  la  rauta 

a  jugar  mi  malillita 

a  otra  parte.) 
PEPITO.    Sale  de  petimetre  calavera. 

Salgan,  salgan 

ustedes  a  los  balcones; 

veran  refiir  a  dos  majas 

con  un  escribano,  sobre 

quien  se  lleva  el  gato  al  agua. 
TODAS.  |  Chis ! 

PEPITO.    Redo.  \  Salgan  ustedes  ! 


255 


260 


265 


270 


LAS   TERTULIAS   DE   MADRID 


125 


TODOS.  i  Chis ! 

JOAQUIN.  Que  esta  muy  malo  en  la  cama 

Don  Juan  con  un  accidente. 
PEPITO.  i  Y  que  dice  a  eso  madama  ? 

ANA.  Esta  muerta. 

PEPITO.  De  ese  modo  275 

no  podra  decir  palabra. 
ANA.  Traiga  uste  esa  silla  chica. 

PEPITO.  <i  Hablan  ustedes  en  chanza  ?     La  trae. 

ANA.  No,  no;  ya  lo  vera  usted. 

PETRONILA.     Sale. 

Amigas,  suplid  las  faltas,  280 

que  hoy  todo  va,  como  va. 

Sacan  de  beber  el  PAJE  y  las  DOS  CRIADAS, 
y  luego  algunas  servilletas,  una  fuente 
como  de  fritada,  pan,  tenedores,  etc. 

FRANCISCA.         Si  estaba  muy  escusada 

por  hoy  esta  ceremonia. 
JUANA.    Aparte  a  las  otras. 

(Mira  este  vaso,  ;  que  bata 

tiene  de  tan  lindo  gusto  !)  285 

FRANCISCA.         \  Mujeres,  que  seals  tan  malas  ! 

<J  quien  repara  en  estos  lances  ? 
LUCAS.  Si  aquel  vino  de  la  Mancha 

no  se  acabo,  mande  usted 

que  una  botella  nos  traigan.  290 

PETRONILA.         Anda  chica. 
PATRICIA.    Aparte.  j  Bueno  va  esto, 

y  mi  amo  para  dar  su  alma 

a  Dios !  Vase. 

Luis.    Sale  Buen  provecho. 


126 


TEN   SPANISH   FARCES 


ABATE.  Presentdndole  una  tajada. 

Luis, 

vaya  al  paso  esta  tajada. 
Luis.    Tomdndola. 

Esto  es  antes. 

Al  entrar  D.  Luis  con  la  garrafilla,  salen 
los  DOS  MEDICOS  muy  serios,  y  DONA 
INES,  llorando  amargamente.  Se  quedan 
a  una  punta  del  tablado.  Los  otros 
siguen  merendando.  Luego  rodean  a 
LOS  MEDICOS  como  con  curiosidad. 

INES.  <J  Conque,  en  fin,  295 

pueden  f undarse  esperanzas  ? 
ANTON.  El  pulso  aun  promete  algunas; 

pero  hareis  mal  en  fundarlas 

hasta  ver  si  vuelve,  y  como 

vuelve. 

Luis.    Sale.  <j  Le  doy  la  tipsana  ?  300 

GIL.  Al  instante,  y  avisad 

si  la  traga,  o  no  la  traga.         Vase  Luis. 
ABATE  PRIM.       £  No  fuera  bueno  sangrarle  ? 
GIL.  Ya  tiene  desenvainada 

la  lanceta  el  sangrador;  305 

pero  hay  primero  otras  causas 

que  veneer. 

PEPITO.    Con  la  boca  llena.     i  Se  ha  confesado  ? 
GIL.  <?  Como,  si  ha  perdido  el  habla  ? 

INES.  fise  es  mi  mayor  pesar. 

JoAQufN.    Se  levanta  y  la  brinda.     Esta  tajadita  magra,   310 

que  esta  diciendo:  «  Comedme.  » 
INES.  Perdonad,  no  tengo  gana. 


LAS   TERTULIAS   DE   MADRID 


127 


LAURA.    A  parte  las  dos. 

(j  Que  mal  frito  esta !) 
JUANA.  (l  Y  la  rosca, 

que  dura  y  que  apelmazada  !) 
TODAS.  Ven  aqui. 

ANTON.  Sientese  usted,  315 

y  tenga  la  confiianza 

de  que  no  le  dejaremos 

hasta  ver  si  se  le  saca 

de  este  primer  paso. 

INES.    Se  sienta  llorando.  Bien. 

GIL.  Venga  un  polvo  de  la  Habana.  320 

ANTON.    A  parte  \_los  dos~\. 

(Y  rico.    i  Los  tertuliantes, 

que  lindamente  acompanan 

la  pacienta  en  su  dolor  !) 
GIL.  (<J  No  es  el  ejemplillo  rana 

para  algunos  que  se  yo,  325 

que  cuanto  tienen  lo  gastan 

en  tertulias  ?    Otro  polvo.) 
ABATE  PRIM.    [A  parte,  los  dos.~] 

(Los  medicos  mala  cara 

ponen.) 

PEPITO.  (<J  Que  medicos  son  ?) 

ABATE  PRIM.       (Entrambos  de  mucha  fama.)  330 

PEPITO.  (La  fama  de  los  doctores 

es  como  la  de  las  damas, 

que  aquella  que  tiene  mas 

visitas  es  mas  nombrada; 

y  suele  ser  la  sefiora,  335 

con  perdon,  una  tarasca.) 
Luis.    Sale.        Senores,  vengan  ustedes, 


128 


TEN    SPANISH  FARCES 


que  ha  bebido  la  tipsana 

sin  derramar  ni  una  gota, 

y  van  a  menos  las  ansias.  340 

INES.  Ansiosa.   <jDeveras? 
TODAS.  Estate  quieta. 

ANTON.  No  es  la  noticia  muy  mala. 

Entremos,  Don  Gil  Ventosa. 

GIL.  Vamos,  Don  Anton  Jalapa.  Vanse. 

LAURA.  No  entres  tu. 

INES.    Ansiosa.  £  For  que,  si  soy  345 

yo  sola  la  interesada  ? 
LUCAS.  Chis,  Don  Luis,  saiga  usted  luego; 

que  si  usted  no  juega,  falta 

un  pie. 
Luis.  I  Que  pie  ni  que  mano  ! 

<j  para  juego  esta  la  casa  ?  Vase.    350 

Salen  D.  MANUEL  y  D.  PABLO. 
MANUEL.  A  los  pies  de  ustedes. 

PABLO.  <?  Conque 

tenemos  novedad  ? 
LUCAS  i  Vaya 

si  hay  !    Dona  Petronila, 

que  saquen  una  baraja 

y  nuestra  mesa. 
CIRILO.  Este  es  juego  355 

en  que  todo  el  mundo  calla. 

PETRONILA.        Esta  bien.  Vase  y  vuelve. 

PABLO.  Pues  en  la  calle 

de  decirnos  ahora  acaban 

que  Don  Juan  esta  muy  malo. 
PEPITO.  Ya  esta  mucho  mejor. 

MANUEL.  j  Gracias  360 

a  Dios ! 


LAS   TERTULIAS  DE   MADRID 


129 


PEDRO.  Se  pone  ajugar. 

Aqui  esta  la  mesa. 
ABATE  PRIM.      Cuenta  con  gritar,  si  os  fallan 

una  malilla,  Don  Lucas. 
LUCAS.  Es  advertencia  escusada 

donde  hay  enfermos,  y  usted  365 

puede  para  si  tomarla. 
PEPITO.  Pues  yo  me  desfilo  a  un  baile, 

senoras,  si  no  me  mandan 

otra  cosa. 

JOAQUIN.  <J  Hay  para  todos  ? 

LAURA.  No;  pues  si  ustedes  se  marchan,  370 

nos  vamos  tambien  nosotras. 
PEPITO.  <J  Aprendio  usted  ya,  Dona  Ana, 

las  seguidillas  del  hole  ? 
ANA.  i  Toma,  ya  estan  olvidadas  ! 

PEPITO.  Si  no  fuera  escandaloso,  375 

iria  por  la  guitarra, 

y  se  haria  por  lo  bajo 

una  peti-serenata. 
ABATE  PRIM.      Eso  es  demasiado;  ahora, 

si  quisiera  esta  madama  380 

honrarnos,  sin  instrumento 

pudiera  en  seco  cantarlas. 
ANA.  i  Y  que  lo  oyeran  ! 

PETRONILA.  Ahora 

que  esta  alia  dentro  mi  hermana, 

no  importa. 

TODAS.  Vamos,  Anita.  385 

ANA.  Vaya  una  coplita. 

TODOS.  Vaya. 

Canta  DONA  ANA  una  seguidilla  del  hole  ' 


TEN   SPANISH   FARCES 


en  seco.  Todos  la  rodean,  los  unos  de- 
trds  de  la  silla  y  los  otros  delanie,  de 
rodillas;  y  en  acabdndola,  D.  LUCAS 
se  levanta  de  la  silla,  echa  a  rodar  un 
candelero,  y  dice  gritando: 
LUCAS.  j  Hombre  de  dos  mil  demonios, 

que  haga  usted  esa  jugada 

en  mano  de  favorite  ! 
MANUEL.  ^  Por  que  usted  no  me  avisaba 

que  tenia  la  malilla  ? 
LUCAS.  No  sabeis  tener  las  cartas 

en  la  mano. 

MANUEL.  Mas  que  usted. 

Luis.    Sale.         Senores,  senores,  valga 

la  cortesia,  por  Dios; 

que  nuestro  amigo  se  marcha 

por  la  posta. 
LUCAS.  <J  Sabe  usted 

ya  cuantas  malas  jugadas 

ha  hecho  este  hombre  ? 
Luis.  Bien  esta; 

pero  renirlas  manana. 
JOAQUIN.  <)  Conque  eso  va  malo  ? 

Luis.  Malo. 

LUCAS.  Don  Cirilo,  usted  baraja. 

PETRONILA.        Con  vuestra  licencia  voy 

a  ver  como  estamos. 

FRANCISCA.  Anda. 

ABATE  SEG.        j  Noche  funesta  ! 
PEPITO.  El  caso  es 

que  yo  traia  mi  danza 

de  monos  en  los  bolsillos, 


390 


395 


400 


Vase. 


405 


LAS   TERTULIAS   DE   MADRID  13! 

y  esta  noche  hacer  pensaba 

los  purchinelas. 

JUANA.  <i  De  veras  ? 

PEPITO.  Sino,  ve  aqui  por  f'ianza  410 

de  mi  verdad,  al  sefior 

Don  Cristobal.  Saca  un  mono. 

JUANA.  j  Ay,  que  gracia  ! 

ANA.  <:  Teneis  mas  ? 

PEPITO.  El  perro,  el  hombre, 

el  demonio,  y  la  madama. 
FRANCISCA.         ^  Y  el  silvatillo  ? 

PEPITO.  Tambien.  415 

JUANA.  Hable  usted  algo  como  hablan. 

PEPITO.  Se  mete  bulla. 

JOAQUIN.  Quedito, 

y  solo  cuatro  palabras. 
PEPITO.    Hablando  de  Purchinela. 

<?  Compafiero,  que  de  veras 

hay  alia  fuera  muchachas  420 

bonitas,  bonitas  ?    Mucho. 

Salen  DONA  INES  y  DONA  PETRONILA 

serias. 
INES.  Hijas,  por  la  Virgen  santa 

que  os  vais.     Bien  conozco  que 

aqui  estais  mortificadas, 

y  yo  deseo  estar  sola.  425 

PETRONILA.        Los  medicos  ahora  acaban 

de  decirme  que  don  Juan 

llegar  no  puede  a  manana. 
INES.    Se  cae  en  una  silla. 

\  Ay  de  mi ! 
TODAS.  Por  Dios,  amiga.     Se  levantan. 


13  2 


TEN   SPANISH   FARCES 


PEPITO.  Que  traigan  un  poco  de  agua. 

INES.  No  es  menester;  por  Dios,  idos. 

JUANA.  <J  Irme  yo,  estando  con  tanta 

pena  tii  ? 

ANA.  Ni  yo  tampoco. 

FRANCISCA.         Tambien  yo  avisare  a  casa 

que  no  nos  esperen. 
JOAQUIN.    Aparte  [a  Juand}.  (Digo, 

mi  senora  Dona  Juana, 

esfuerce  uste  el  pensamiento; 

vereis  que  noche  tan  guapa 

pasamos  contando  cuentos.) 
JUANA.  <:  Que  tigre  tuviera  entranas 

de  dejaros  en  un  lance 

como  este  ?     ^  No  lo  extranara 

todo  el  mundo  ? 
ABATE  PRIM.    Aparte  [los  dos.~]    (±  Oyes,  Joaquin, 

que  se  quedan  las  madamas  ?) 
JOAQUIN.  (Si,  hombre.) 

ABATE  PRIM.     Retirdndose.     Por  lo  que  se  ofrezca, 

cuanto  mas  acompanada, 

mejor.    Yo  sere  el  primero. 
INES.  Hijas,  yo  con  mi  desgracia 

no  estoy  para  daros  cena, 

ni  hay  disposicion  de  camas. 
ANA.  <<  Quien  se  habia  de  acostar 

con  tal  cuidado  ? 
JUANA.  "<i  Ni  gana 

de  cenar,  quien  la  tendria  ? 
PEPITO.  ,3  Teneis  jamones  en  casa, 

cafe  y  chocolate  ? 
INES.  Si. 


430 


435 


440 


445 


450 


455 


LAS   TERTULIAS  DE   MADRID  133 

PEPITO.  Pues  sobra  con  eso  que  haya; 

y  alia  a  lo  mas  retirado, 

donde  al  enfermo  no  se  haga 

mala  obra,  pasaremos 

la  noche,  aunque  no  son  largas,  460 

como  unos  duques. 
JOAQUIN.  i  Vereis 

que  linda  noche  se  pasa  ! 
ABATE  PRIM.      Digo  nos  podemos  ir 

a  la  pieza  de  las  jaulas, 

que  esta  lejos  de  la  alcoba.  465 

JUANA.  Dice  bien. 

Los  CUATRO.  Pues  fuera  espadas.      Se  las  quitan. 

INES.  Es  imposible,  senores  .  . . 

<i  Que  hay  de  nuevo,  Don  Luis  ? 
Luis.    Sale  muy  lloroso.  Nada; 

lo  mas  sensible  aqui  es 

la  disposition  del  alma.  470 

INES.  <J  Pues  que  va  a  peor  ? 

Luis.  Senora,     • 

usted  tengala  tragada; 

busquese  un  coche,  y  con  una 

de  estas  amigas  se  vaya, 

que  ya  no  esta  bien  aqui  475 

y  pues  tanta  confianza 

tiene  de  estos  caballeros, 

nombre  uno  que  cargo  se  haga 

de  disposiciones,  llaves, 

y  papeles. 

INES.  I  Ay,  mi  Juana  !       Abrazdndola.  480 

JUANA.  Yo  seria  la  primera, 

amiga,  que  te  llevara, 

a  no  tener  tantos  hijos. 


134  TEN    SPANISH   FARCES 

FRANCISCA.         Yo  tambien,  como  mi  casa 

tuviera  una  alcoba  mas.  485 

ANA.  Por  mi,  ya  sabes  la  mala 

condicion  de  mi  marido. 
INES.  Seiior  Don  Joaquin  . . . 

JOAQUIN.  Madama, 

yo  en  asunto  de  papeles 

soy  un  pedazo  de  albarda.  490 

LUCAS.  Sin  dejar  eljuego. 

Yo,  ya  sabe  usted  que  tengo 

una  oficina  pesada. 
ABATE  PRIM.      Yo,  mil  correos  y  agendas 

que  me  llevan  a  la  rastra. 
PEPITO.  A  mi  lo  testamentario  495 

es  cosa  que  no  me  encaja. 
INES.  <i  Vosotras  sois  las  amigas 

de  quien  tuve  confi'anza  ? 
LUCAS.    Gritando. 

Ese  as;   <J  no  Feparo  usted 

que  yo  descubri  la  mala  ?  500 

IN£S.  <J  Cabe  en  los  hombres  de  honor 

correspondencia  tan  falsa  ? 
Luis.    A  voces. 

Don  Juan,  amigo,  ya  tiene 

sal  y  aceite  la  ensalada; 

salid  a  echar  el  vinagre.  505 

Sale  D.  JUAN  en  bata,  y  MEDICOS  y  CRIADOS. 
JUAN.  Sea  enhorabuena,  madamas; 

caballeros,  yo  agradezco 

a  todos  mercedes  tantas. 
INES.  Ansiosa;  y  todos  admirados  en  pie,  y  dejan  el  juego. 

±  Hijo,  que  es  esto  ? 


LAS   TERTULIAS   DE   MADRID  135 

JUAN,  Esto  es,  hija, 

haberte  dado  copiada  510 

una  pesadumbre  que 

quiza  puedes  ver  manana 

original. 
INES.  Bien  decias 

que  es  vano  cuanto  se  gasta 

con  semejantes  tertulias,  515 

que  del  que  mas  me  adulaba, 

en  una  necesidad 

me  hallaria  mas  burlada. 
JUAN.  Te  lo  dije,  y  te  repito, 

que  nadie  viene  a  estas  zambras  520 

sin  su  fin  particular 

o  su  interes;  verbigracia: 

La  sefiora  viene  aqui  A  Juana. 

porque  es  amiga  de  danza, 

y  en  su  casa  su  marido  525 

no  quiere  sufrir  guitarras. 

La  sefiora  viene  a  ver  A  Francisca. 

como  sale  de  cufiada; 

si  aqui  que  entran  muchos  hombres 

se  inclina  alguno,  y  se  casan.  530 

Esta  viene  porque  viene  A  Ana. 

estotro;  y  a  la  contraria, 

este  porque  viene  estotra.       A  Joaquin. 

Este  viene  porque  aguarda         A  Pablo. 

que  yo  le  saque  un  empleo.  535 

Este  porque  esta  sin  blanca 

Al  Abate  Primer  o. 

lo  mas  del  ano,  y  yo  soy 

el  que  socorre  la  plaza. 


136 


TEN   SPANISH   FARCES 


El  senor  acude  aqui  A  Pepito. 

como  a  otras  tertulias  varias,  540 

por  trasegar  de  una  en  otra 

lo  que  en  todas  partes  pasa, 

hecho  arcaduz,  que  tan  presto 

lo  coge  como  lo  vacia. 

El  senor,  porque  asegura  A  Lucas.  545 

con  el  juego  la  pitanza 

para  el  otro  dia.  fiste,     Al  Abate  Segundo, 

porque  con  lo  que  aqui  zampa 

por  la  tarde,  ahorra  la  cena. 

Yestotros,  porque  hace  malas  A  los  otros.  550 

noches,  viven  ahi  enfrente, 

y  aqui  siempre  hay  fiesta  armada. 

iEsesto?  respondan;  y 

Ponen  todos  el  dedo  en  la  boca. 

quien  mienta,  muerto  se  caiga. 

£ste  es  solo  verdadero  A  Luis.  555 

amigo,  y  quien,  si  pasara 

de  veras  lo  que  hoy  fingimos, 

me  sirviera  y  te  amparara. 
Luis.  Con  el  alma  y  con  la  vida. 

INES.  Hijo,  yo  por  la  ensenanza  560 

te  perdono  el  grande  susto. 
ANTON.  Ya  no  hacemos  aqui  falta, 

pues  Don  Juan  encontro  el  modo 

de  curarse  y  de  curarla. 

FRANCISCA.         Muy  bien  lo  han  fingido  todos.  565 

PETRONILA.    Suspirando. 

A  costa  de  nuestras  ansias  . . . 
JUAN.     Con  fisga. 

Por  sacar  las  llavecitas 


LAS   TERTULIAS   DE   MADRID 


137 


del  dinero  y  las  alhajas. 
Esas  son  cuentas  que  luego 
los  dos  hemos  de  ajustarlas. 

JUANA.     Enfadada. 

Sin  embargo,  es  un  desaire  . 

FRANCISCA.    Prudente. 

Amiga  Juanita,  calla; 
y  callemos  todos,  piles 
ya  nos  han  visto  las  cartas, 
y  si  envidamos  el  resto, 
quedamos  mas  desairadas. 

LAS  DAMAS.        Dice  bien ;  adios,  amiga. 

Los  HOMBRES.    Chicos,  encended  las  hachas. 

PEPITO.  Si  soy  arcaduz,  y  los 

arcaduces  minca  paran, 

la  historia  que  aqui  he  cogido 

voy  a  otra  parte  a  vaciarla. 

INES.  <i  Y  que  tipsana  tomaste  ? 

Luis.  Cuartillo  y  medio  de  horchata 

que  yo  le  traje  en  persona. 

INES.  Pues  yo  he  sido  la  curada, 

yo  soy  la  que  debo  a  ustedes 
darles  el  premio  y  las  gracias. 

JUAN.  Todos  seremos  contentos, 

si  de  este  ejemplo  se  saca 
por  que  y  cuando  las  tertulias 
se  forman  y  desbaratan. 


570 


575 


Vanse. 
Vanse. 


580 


Vase. 


585 


590 


FIN. 


NOTES 

The  portrait  of  Cervantes  reproduced  in  this  book  is  taken 
from  a  painting  brought  to  public  notice  about  ten  years  ago, 
and  purporting  to  be  the  work  of  Juan  de  Jauregui  y  Aguilar, 
the  author's  friend.  Many  have  accepted  the  alleged  portrait 
as  genuine;  others  have  impugned  its  authenticity,  and  a  heated 
controversy  has  raged.  The  only  authentic  likeness  of  Cervantes 
is  the  verbal  portrait  in  the  Prologue  of  the  Exemplary  Novels. 
If  the  recently  discovered  painting  is  an  imposture,  it  was  proba- 
bly drawn  with  Cervantes'  own  self-description  in  mind,  so  that, 
at  worst,  it  affords  as  good  a  likeness  as  imagination,  aided  by  a 
few  known  data,  can  effect. 

The  interior  views  of  a  seventeenth  century  theater  are  taken 
from  Sepulveda,  El  Corral  de  Pacheca,  Madrid,  1888.  These 
drawings  must  be  accepted  as  representing  the  ideas  of  a  modern 
artist  aided  by  old  descriptions.  While  they  give  a  good,  general 
idea  of  an  old  corral,  they  are  doubtless  erroneous  in  many 
details. 

PASO    SEPTIMO 

The  scene  is  a  street.  Toruvio's  house  may  be  assumed  to  be 
at  one  side  of  the  stage,  the  neighbor's  at  another. 

2.  desdel  =  desde  el;  contractions  no  longer  admissible "  are 
common  in  Old  Spanish. 

3.  se  queria  hundir,  was  on  the  point  of  sinking.  —  deci  = 
decid.    The  final  d  of  the  second  plural,  imperative,  is  frequently 
omitted  in  Old  Spanish.     The  peasant  characters  in  this  farce 
use  both  the  second  singular  and  second  plural  forms  of  address. 
The  former  is  preferred  in  addressing  Mencigiiela. 

4.  terna  =  tendrd.     An  old,  irregular  future  with  metathesis 
of  the  n  and  r,  starting  from  an  original  tenra. 

139 


I4O  NOTES 

4-5.  la  senora  de  mi  mujer.  Similar  to  the  use  of  de  in  pobre 
de  mi  and  like  phrases.  See  Bello-Cuervo,  Gramctka  castettana, 
§852.  Senora,  'lady,'  is  here  used  in  a  jocular  sense. 

5.  Asi  is  sometimes  used  to  introduce  an  optative  subjunctive. 
Ojald  is  now   more  frequently  used  in  such  cases.  —  j  Oislo ! 
Wife!    The  phrase  'Do  you  hear  it?  '  was  so  frequently  used  in 
conversation  between  husband  and  wife  that  it  came  to  be  a 
playful  term  with  which  to  designate  one's  better  half.    At  least 
this   is   the   traditional   explanation.     Sancho    Panza   refers   to 
Juana  Gutierrez  as  mi  oislo.     In  the  present  instance,  some  have 
taken  the  word  in  the  other  sense;  but  Toruvio  seems  to  be  calling 
both  wife  and  daughter  alternately.  —  Mochacha  =  Muchacha. 
There  was  formerly  much  vacillation  between  o  and  u  in  un- 
stressed syllables.     See  Men6ndez  Pidal,   Manual  de  gramdtica 
espanola,  Madrid,   1918,  §  16. 

6.  i  Si  todos  duermen  en  Zamora  ?     Can  everybody  be  sleep- 
ing in   Zamora?     A  proverbial    expression    taken    from    an   old 
ballad: 

Tristes  van  los  zamoranos 
metidos  en  gran  quebranto. 

Todos  duermen  en  Zamora; 
mas  no  duerme  Arias  Gonzalo. 

See  Duran,  Romancer  o  general,  no.  795.  One  is  reminded  of  the 
expression  current  during  our  Civil  War:  'All's  quiet  along  the 
Potomac  tonight.'  —  Si,  introducing  a  question,  indicates  un- 
certainty or  curiosity.  See  Bello-Cuervo,  Gramdtica,  §  414. 
Translate,  '/  wonder  if,'  or  omit. 

8.  The  conjunction  y  was  often  used  to  join  a  question  to  a 
previous  statement  or  exclamation.  See  Diez,  Grammatik  der 
romanischen  Sprachen,  5th  ed.,  Bonn,  1882,  III,  1059. 

10.   i  Mira  que  pico !     See  what  a  chatterbox! 

15.  Andad  y  llamalda.  In  modern  Spanish  we  should  have  a 
for  y;  llamalda  =  llamadla.  It  will  not  be  considered  necessary 
to  indicate  other  instances  of  the  metathesis  of  d  and  /  as  they 
occur. 


NOTES  141 

16.  el  de  los  misterios,  frequenter  of  sabbaths.  She  implies 
that  her  husband  has  dealings  with  witches  and  the  Evil  One, 
alluding  probably  to  the  fact  that  he  has  been  out  on  such  a 
stormy  night.  In  Lope  de  Rueda's  Armelina,  Pascual  addresses 
his  wife,  Ines:  la  de  los  misterios.  She  has  been  boasting  of  her 
ancestry.  His  remark  implies  that  she  is  a  witch.  —  ya  viene 
de  hacer,  etc.  he  is  just  back  from  making  a  wretched  little  haul  of 
wood,  in  such  a  state  that  there  is  nobody  who  can  get  on  with  him. 
In  Old  Spanish  viene  de  is  often  equivalent  to  acaba  de,  but  in 
this  case  something  of  the  ordinary  meaning  of  venir  is  felt; 
que  =  de  manera  que. 

19.  Toruvio  resents  Agueda's  use  of  the  diminutive. 

20.  juro  a  is  less  frequent  in  modern  Spanish  than  jure  par. 
20-21.    eramos  ...  a     cargalla  =  estdbamos    cargdndola.       As 

for  the  form,  cargalla  =  cargarla  the  final  r  of  an  infinitive 
was  frequently  assimilated  to  /  before  an  enclitic  pronoun  be- 
ginning with  that  letter. 

22.  noramaza,   a   euphemism  for  noramala  =  en  hora  mala. 
Women  preferred  this  softened  form  of  the  oath.  See  Don  Quijote, 
Pt.  I,  ch.  5.  —  mojado.     Toruvio  enters  dripping,  a  comic  en- 
trance employed  in  many  entremeses.     Compare  the  entrance  of 
Pablos  in  El  colloquio  de  Camila,  Obras  de  Lope  de  Rueda  (edited 
by  Cotarelo),  Madrid,  1908,  II,  68. 

23.  que.    This  redundant  use  of  que  is  explained  by  Weigert, 
U  ntersuchungen  zur  spanischen  Syntax  auf  Grund  der  Werke  des 
Cervantes,  Berlin,  1907,  102.    He  thinks  its  presence  here  due  to 
a  contamination  of  the  two  expressions:    que  mojado  venis  and 
lo  mojado  que  venis. 

25.  deis.    Subjunctive  used  instead  of  the  imperative.     It  is 
unnecessary  to  suppose  the    omission  of  a  verb  of  asking  or 
wishing. 

26.  tengo  de  =  he  de. 

30.  alba.  When  asked  a  foolish  question,  the  answer  to  which 
is  self-evident,  the  Spaniard  retorts  with  a  ready-made,  silly 
answer:  No,  sino  el  alba,  No,  the  dawn  rather.  This  is  used  in 
every  possible  connection.  The  following  translation  is  an  ap- 
proximation: Your  mother  will  be  saying  next,  ' Fiddlesticks .' 

34.   plantasedes  =  plantaseis.     In  Lope  de  Rueda's    century 


142  NOTES 

the  old  endings  -odes  and  -edes  were  still  retained  in  those 
forms  of  the  second  person  plural  which  were  stressed  on 
the  antepenult. 

36.  rogastes  =  rogasteis.     The  regular  ending  of  the  second 
plural,  preterit,  was  -tes,  and  not  -teis  until  after  the  time  of 
Cervantes.    See  Menendez  Pidal,  Manual,  p.  220. 

37.  We  should  now  use  donde,  rather  than  adonde,  except  with 
a  verb  of  motion. 

41.  adrezado  =  aderezado.  The  first  e  has  been  syncopated. 
The  same  is  true  for  drecho  =  derecho,  below. 

42-45.  All  the  que's  in  this  sentence,  except  the  second  one, 
depend  on  a  verb  of  thinking  readily  to  be  implied  from  the 
he  pensado  of  the  sentence  before. 

47.  un  olivar  hecho  y  drecho,  a  right  proper,  or,  a  really  and 
truly  olive  grove. 

54.  Covarrubias  states  that  the  real  castellano  was  worth  in 
his  time  (1611)  23  dineros.  Agueda,  therefore,  would  sell 
the  olives  for  46  dineros  while  Toruvio  demanded  only  one- 
third  as  much,  14  or  15  dineros.  The  ratio  between  the  two 
coins  may  have  differed  slightly  in  the  time  of  Lope  de 
Rueda. 

56.  el  amotazen,  the  reading  of  Moratfn  and  Fuensanta  de 
Valle.      Gotarelo  reads:    al  amotazen.     None  of  these   texts   is 
critical. 

57.  cadaldla  =  coda  el  dia,  used  like  the  modern,  coda  dia. 

59-60.  la  casta  de  los  de  Cordoba.  These  words  were  com- 
monly used  with  reference  to  horses  rather  than  to  vines.  C6rdoba 
was  famous  for  its  horses. 

62.   tengo  dicho.    Stronger  than  he  dicho. 

68.   quisieredes.     What  is  the  modern  equivalent? 

85.  que  is  frequently  used  after  oaths,  ejaculations,  and  strong 
asseverations.  See  Bello-Cuervo,  Gramdtica,  §  391.  The  sub- 
ject of  mata  is  ella,  understood. 

98.  Averigiie,  etc.,  Find  out  or  let  everything  be  set  down  as 
ruin. 

116-118.  Notice  how  the  verbs  dependent  upon  dice  shift 
from  future  to  conditional,  to  imperfect  subjunctive,  to  im- 
perfect indicative. 


NOTES  143 

1 20.  quistion  =  cuestion,  dispute.  Just  as  there  was  a  wavering 
between  u  and  o  in  unstressed  syllables  (see  note  to  line  5),  so 
there  was  the  same  hesitation  between  e  and  i. 

122.  Las  aceitunas  no  estan  plantadas,  an  exaggeration.  They 
were,  of  course,  planted. 

126.   Toruvio  forgets  that  the  table  is  already  set.    See  1.  41. 


LA  CUEVA   DE  SALAMANCA 

The  stage  must  have  been  divided,  part  representing  the  in- 
terior of  Pancracio's  house,  another  portion,  the  street  outside. 
This  division  was  probably  indicated  by  a  cloth  stretched  across 
the  stage.  During  the  window  scene  Pancracio  and  Leonarda, 
both  visible  to  the  audience,  probably  conversed  through  an 
aperture  in  this  screen. 

17-18.  que  si  yo  fuera  que  vuesa  merced,  que,  etc.  The  first 
and  third  que's  are  pleonastic  after  asseverations:  see  Bello- 
Cuervo,  Gramdtica,  §  391.  The  second  is  pleonastic  after  the 
verb  to  be:  see  ibid.,  §1004. 

24.  cuanto  mas,  etc.  Leonarda  is  'deceiving  with  the  truth,' 
that  is,  expecting  Pancracio  to  take  her  remarks  in  one  sense, 
while  really  meaning  them  in  another.  There  are  several  other 
examples  of  this  device  in  what  follows.  Lope  de  Vega  was  the 
first  to  give  critical  sanction  to  the  enganar  con  la  verdad  expedient. 
The  narrow  definition  of  '  deceiving  with  the  truth  '  proposed 
by  Morel-Fatio,  in  his  commentary  on  Lope  de  Vega's  Arte 
nuevo  de  hacer  comedias  en  este  liempo,  Bulletin  hispanique,  III, 
364-405,  will  not  stand  as  against  the  evidence  of  contemporaries. 
Luna  (Lazarillo  de  Tormes,  Part  II,  ch.  xiii),  speaking  of  a 
female  hypocrite  says:  Ella  las  respondia  era  una  grande  peca- 
dora,  y  no  mentia,  que  con  la  verdad  enganaba.  In  the  Spanish 
Comedia,  enganar  con  la  verdad  did  not  mean  merely  a  pre- 
maturely disclosed  denouement,  but  the  phrase  applied  to  any 
case  where  deception  was  accomplished  by  telling  the  simple 
truth.  The  closely  related  device  of  hablar  equivoco  involved 
word-play. 

31.   vais,  subjunctive.     See  Bello-Cuervo,  Gramdtica,  §  582. 


144  NOTES 

35.  que  otro  gallo  les  cantase,  it  would  be  a  di/erent  story. 
Again  the  que  after  an  asseveration. 

40.  mando  =  ofrezco,  or  prometo.  The  present  with  future 
implication.  Note  the  change  from  the  second  plural  to  the 
second  singular  form  of  address,  when  the  husband  addresses 
first  the  wife  and  then  the  servant. 

51.  j  Alia  daras,  rayo,  etc.     Correas,  Vocabulario  de  refranes, 
Madrid,  1906,  gives  two  other  forms  of  this  proverb:   Alld  dards, 
rayo,  en  cas  de  Tamayo,  and,  Alld  dards,  rayo,  en  casa  de  Ana 
Gomez.    The  first  of  these  is  probably  the  original  form,  because 
it  preserves  the  rhyme.    The  thought  is:    Let  others  suffer  rather 
than  myself. 

52.  j  La  Ida  del  humo !   Vanish  like  smoke.     Like  our  slang: 
'Fade  away.'    Another  locution  is:    La  ida  del  cuervo,  with  refer- 
ence to  the  raven  dispatched  from  the  ark  by  Noah.     The  Archpriest 
of  Talavera  has:  La  ida  del  polvo. 

57.  For  si,  introducing  a  question,  see  page  140,  note  6. 

62.  serones.  For  many  centuries  it  has  been  the  custom  of 
the  kings  of  Spain,  and  also  the  emperors  of  Austria,  to  wash 
the  feet  of  thirteen  paupers  on  Maundy  Thursday.  After  this 
ceremony  each  pauper  was  presented  with  a  serdn,  'hamper,' 
containing  dainties.  The  contents  of  an  '  Easter  basket '  are  in- 
dicated in  the  context. 

67.  de  lo  de  una  oreja,  of  the  good  old  sort.  According  to  Co- 
rreas, the  'one-eared  wine  '  was  good  and  the  'two-eared,'  bad; 
because  one  who  partook  of  the  first  variety  staggered  to  one 
side  only,  while  he  who  drank  the  other  reeled  first  to  one  side 
then  to  the  other. 

67-68.  que  huele  que  trasciende,  which  gives  forth  a  pene- 
trating odor. 

70.  telas  de  mis  entranas.    The  usual  phrase  is:   telas  de  mi 
corazdn,  'my  heart's  fabric.'     Cervantes  is  giving  a  humorous 
turn  to  this  stock  phrase. 

71.  Maese  Nicolas  is  also  the  barber's  name  in  Don  Quijote. 
81.   lo   uno   muestra   vuestro   vestido.     The   regulations   of 

Spanish  universities  required  that  all  students  dress  alike.  They 
wore  long  cassocks,  like  priests,  and  small  caps,  except  when 
it  rained,  when  they  were  allowed  to  wear  hats.  When  begging, 


NOTES  145 

they  carried  caps  or  long,  wooden  spoons  which  they  held  out 
to  receive  the  alms.  For  interesting  details,  see  Reynier,  La 
Vie  universitaire  dans  I'ancienne  Espagne,  Paris,  1902. 

97.  Roque  Guinarde,  a  celebrated  Catalonian  bandit,  who, 
like  Robin  Hood,  stole  from  the  rich  and  gave  to  the  poor. 
Mentioned  in  chapters  LX  and  LXI  of  the  Second  Part  of  Don 
Quijote.  His  biography  has  been  written  by  Luis  Maria  Soler 
y  Terol,  Perot  Roca  Guinarda,  Manresa,  1909.  The  allusion 
proves  that  this  farce  must  have  been  written  after  1607.  See 
Buchanan,  Cervantes  as  a  Dramatist:  The  Interludes,  Modern 
Language  Notes,  XXIII,  184. 

100.  ademas,  excessively. 

106-107.  pues  de  las  sobras,  etc.  Cervantes  used  this  proverb 
again  in  El  coloquio  de  los  perros.  In  Don  Quijote,  Pt.  I,  ch.  XXI, 
he  distorts  it  as  follows:  almorzaron  de  las  sobras  del  real  que  del 
acemila  despojaron.  Inasmuch  as  sobras  del  castillo  was  pro- 
verbial for  'plenty,'  Cervantes  coined  the  phrase  sobras  del  real, 
meaning  'scantiness.'  Cortej6n  is  the  only  commentator  who 
approaches  the  correct  explanation. 

108.  habra  en  quien,  etc.,  there  will  be  an  object  for  his  hunger's 
devotion.  Adorar,  usually  a  transitive  verb,  is  sometimes  in- 
transitive. In  this  case  it  needs,  like  entrar,  the  prepositional 
complement  en. 

113-114.  Christina  thinks  that  the  student  has  the  air  of 
one  unlikely  to  keep  a  secret.  On  the  contrary,  his  mouth  will 
hardly  suffice  him  for  speaking,  and  he  is  just  as  likely  to  talk 
out  of  the  back  of  his  head. 

114.  pelar.  There  is  much  punning  upon  the  various  mean- 
ings of  this  word.  Pelar,  like  English  'pluck,'  'fleece,'  'skin,' 
had  literal  and  figurative  meanings.  It  meant  either  to  'pluck 
a  fowl,'  or  'to  pluck  a  victim  at  cards  or  otherwise.'  Peldn 
meant  either  'bald-pate'  or  'simpleton'  or  'one  completely 
destitute.' 

122.  graduado  de  bachiller,  etc.  Being  a  university  graduate, 
he  might  be  considered  an  accomplished  rogue. 

125.  capones,  sino  gansos  y  avutardas.  These  words  are 
likewise  played  upon.  Capones  were  'effeminate  men.'  Gansos 
often  meant  'country  simpletons,'  and  Covarrubias,  Tesoro  de 


146  NOTES 

la  lengua,  tells  us  that  the  word  also  meant  'pedagogues,'  be- 
cause the  school  teachers  of  the  time  would  lead  their  pupils 
to  school  like  ganders  heading  their  flocks.  I  find  no  figurative 
meaning  for  avutardas  '  bustards  '  in  the  dictionaries  but  in  the 
slang  of  the  time  it  meant  'hardened  criminals,'  'veteran 
prisoners,'  those  longest  resident  in  a  given  jail.  See  Entremes 
del  letrado,  Obras  de  Lope  de  Vega,  Academy  edition,  II,  1453. 
Of  course  the  literal  significances  of  these  words  are  to  be  under- 
stood as  well. 

128-130.  Asf  pueden,  etc.  Translate  freely:  You  may 
slaughter  in  my  presence  ....  without  my  opening  my  lips,  etc.; 
que  seems  to  be  equivalent  to  sin  que. 

129.  Rastro.  The  place  set  apart  for  the  slaughter  of  animals 
and  the  sale  of  meat.  In  Madrid  and  some  other  towns  there  is 
still  a  district  known  as  the  Rastro. 

132.  agujeta  de  dos  cabos.  The  agujeta  was  the  iron-tipped 
lace  used  for  tying  together  the  various  outer  garments.  The 
two-ended  lace  was  one  which  had  two  free  ends;  others  had  one 
end  sewed  to  the  garment. 

138.  Automedontes.  Automedon  was  Achilles'  charioteer. 
Hence,  by  extension,  any  driver  or  coachman.  Compare  our 
use  of  the  word  Jehu.  It  was  characteristic  of  the  sacristans 
that  they  loved  to  air  their  slight  learning  and  to  talk  in  an  un- 
intelligible, pedantic  way. 

146.  Simple,  intelligible  style  was  termed  estilo  llano.     It  was 
the  opposite  of  the  estilo  culto,  talked  by  the  Sacristan.    Of  course 
llano  means  both  'flat '  and  'plain.' 

147.  pan  por  vino,  etc.     The  correct  form  of  the  proverb  is: 
pan  por  pan  y  vino  por  vino,  'to  call  a  spade  a  spade.'    Cervantes 
never  tires  of  turning  proverbs  inside  out  for  humorous  effect. 

150.  un  barbero  romancista,  a  ballad-singing  barber.  The 
barber  is  always  a  singer  of  ballads,  guitar  player,  and  dancer. 
Barbero  is  the  editors'  emendation  for  an  original  reading,  beylero. 
I  am  inclined  to  think  that  Cervantes  wrote  baylero,  'dancer.' 
I  have  refrained  from  making  this  change  because  I  can  find  no 
authority  for  such  a  word,  which  might,  however,  easily  have 
been  coined. 

152.  Antonio  de  Nebrija,  or  Lebrija  (1444-1522),  the  most 


NOTES  147 

famous  Spanish  grammarian  of  his  age.  He  wrote  the  first 
scientific  grammar  of  the  Spanish  language,  and  a  Spanish-Latin, 
Latin-Spanish  dictionary.  He  taught  at  the  universities  of 
Salamanca  and  Alcala,  and  used  his  vast  knowledge  of  Greek 
and  Hebrew  in  preparing  the  celebrated  polyglot  edition  of  the 
Bible. 

154.  cada  uno  habla,  etc.,  a  proverb.  Correas  has  it:  Cada 
uno  habla  como  quien  es. 

159.  salamanqueso.  The  correct  adjectives  are  salmantino 
and  salamanques.  The  suffix  -queso  sounds  funny  to  a  Spanish 
ear. 

167-169.  Confiese,  etc.  Confess  that  you  are  very  peevishly  in- 
clined toward  a  man  of  my  parts,  etc. 

170.   ellos,  you. 

170-171.  y  nunca  del  cuero  les  salgan,  and  may  they  never 
leave  your  skin,  that  is,  may  they  rest  well  on  your  stomach. 

177.  en  visperas.  A  possible  allusion  to  the  stock  expression: 
como  tonto  en  visperas.  One  would  be  sleepier  at  vespers  than  at 
early  mass. 

178-179.  The  sacristan  was  like  those  priests  described  in  the 
Lazarillo  de  Tormes,  who  spoke  Latin  volubly  to  those  who  did 
not  understand  it,  and  maintained  a  discreet  silence  in  the 
presence  of  the  educated. 

184-185.  Si  el  rodeara  . . .  estuvieramos.  For  hubiera  rodado 
and  hubieramos  estado.  This  use  of  the  imperfect  subjunctive 
for  the  pluperfect  subjunctive  was  common  in  the  old  writers. 
See  Bello-Cuervo,  Gramdtica,  §  696. 

194.  Lucrecia,  a  Roman  matron  of  the  sixth  century  B.  C., 
who  committed  suicide  rather  than  lead  a  life  of  dishonor.  — 
Porcia,  the  wife  of  Junius  Brutus,  who  committed  suicide, 
42  B.  C.,  rather  than  survive  her  husband. 

197.  tenia,  a  common  use  of  the  imperfect  indicative  for  the 
conditional,  for  the  sake  of  greater  positiveness  and  vividness. 

214.  deben  de  andar  por  aqui,  must  have  something  to  do 
with  this. 

217.  a  recogerse,  the  infinitive  used  as  imperative.  See 
Bello-Cuervo,  Gramdtica,  Notas,  p.  62.  In  this  case  the  verb 
vayan  may  be  easily  implied. 


148  NOTES 

231.  The  old  superstition  was  that  the  soul  actually  passed 
out  of  the  mouth  at  death.     When  the  soul  had  reached  the 
teeth,  the  dying  man  was  at  his  last  gasp. 

232.  carcaflares,  usually  spelled,  calcanares.     The  soul  of  a 
dancing  barber  is  placed  by  Cervantes  in  his  heels.     Tener  los 
sesos  en  los  carcanares  was  a  common  expression. 

238.  mi  cepo,  my  support;  literally  'block.'  Cepo  also 
meant  'stocks,'  the  instrument  in  which  criminals  were  punished. 
Hence,  in  this  context  the  phrase  may  mean  '  my  impediment.' 
—  la  voz  de  un  gallo,  etc.,  a  proverb:  'All  cats  look  alike  in 
the  dark.' 

244.  el,  you.  This  is  a  polite  form  of  address  common  in  the 
old  language.  It  is  still  used  in  Le6n.  See  Menendez  Pidal,  El 
dialecto  leones,  Madrid,  1906,  p.  59. 

262.   me  tiene  ya  sin  pulsos,  keeps  my  heart  from  beating. 

265.  volvernos.  In  the  modern  language  voher  alone  would 
he  used  in  this  sense. 

283.   veisle  aqui.     Very  close  in  meaning  to  hele  aqui. 

293.  Either  de  or  par  may  be  used  as  complements  of  the 
intransitive  temer. 

296.  la  Santa  Inquisition.    The  ecclesiastical  tribunal  founded 
by   Ferdinand  and   Isabella  in   1478,   and  continuing  until  its 
abolishment  by  Napoleon  in  1808.     It  tried  persons  accused  of 
heresy,  witchcraft,  or  offences  against  the  official  faith.    See  Lea, 
A   History  of  the  Inquisition  of  Spain,  New  York,  1906-7. 

297.  a  costa  de  mis  herederos,  that  is,  regardless  of  expense, 
without  consideration  of  posterity.    The  phrase  is  in  Don  Quijote, 
Pt.  II,  ch.  25. 

313-314.  Plega  a  Dios,  etc.,  Please  God  that  this  unthreshed  corn 
may  meet  a  good  wind.    An  English  equivalent:  ' May  God  temper 
the  wind  to  the  shorn  lamb  '  =  '  May  it  all  turn  out  well.' 
Plega  =  plegue  or  plazca. 

316-317.  Note  the  strange  omission  of  the  'personal  a  '  be- 
fore the  personal  object  and  its  use  before  the  coordinate  noun 
referring  to  a  thing. 

322.  Roque.  The  barber  has  previously  been  named  Nicolas; 
one  of  Cervantes'  characteristic  inconsistencies. 

328-329.  no  hay  regla,  etc.,  a  proverb. 


NOTES  149 

333-334.   que  buen  corazon,  etc.,  a  proverb. 

335,  etc.  This  i2-syllable  octave  in  arte  mayor  is  a  mock 
incantation  composed  of  12  and  n  syllable  lines  in  ternary 
movement. 

356-357.  The  Sacristan  and  the  Barber  enter  besmudged  after 
their  stay  in  the  coal-bin,  which  makes  the  credulous  Pancracio 
mistake  them  for  demons. 

361.  los  perros  del  herrero.  Allusion  to  the  proverb,  thus 
given  by  Correas:  El  perro  del  herrero  duerme  a  las  martilladas 
y  despierta  a  las  dentelladas.  This  proverb  originates  in  a  story 
which  can  be  traced  back  to  the  Orient.  In  the  Syntipas  a  black- 
smith curses  his  dog  who  sleeps  during  the  hammering  on  the 
forge,  but  awakes  as  soon  as  he 'hears  the  noise  of  eating.  See 
Chauvin,  Bibliographic  des  ouvrages  arabes,  III,  34. 

365.  Yo  hare  la  salva,  I  will  sample  it  first.  Kings  had  special 
'  tasters  '  who  sampled  every  dish  before  their  master  partook 
of  it,  as  a  precaution  against  poison.  This  operation  was  in 
Spain  termed  the  salva. 

366-367.  sacri  .  .  .  diablo.  The  Student  forgets  himself  and 
starts  to  say,  sacristan. 

393,  etc.  What  follows  is  written  in  the  8-syllable  verso  de 
romance,  except  that  there  is  a  refrain,  a  full  rhyme  instead  of 
assonance  in  the  even  lines,  and  an  arrangement  of  the  verses 
in  quatrains  and  octaves. 

398.  el  bachiller  Tudanca  is  probably  a  fanciful  personage 
invented  for  the  sake  of  the  rhyme.  The  poet  is  hard  put  to  find 
enough  rhymes  in  -anca. 

411.  .  estas  bombas,  bombs  of  this  sort.  In  the  time  of  Cervantes 
bombs  were  more  often  inflammatory  than  explosive.  Tar  was 
one  of  the  principal  ingredients  with  which  they  were  filled. 

414.  Moros  de  la  palanca.  According  to  Covarrubias,  the 
palanca  was  a  pole  on  which  two  ganapanes,  or  porters,  carried 
burdens.  The  Moors  commonly  practiced  this  trade. 

422.  Loranca.  There  are  two  towns  of  this  name:  Loranca 
del  Campo,  province  of  Cuenca,  and  Loranca  de  Tajuna,  province 
of  Guadalajara.  The  name  is  without  special  significance.  It  is 
'dragged  in  '  on  account  of  the  rhyme. 

434-435-  Zarabandas,    Zambapalo,    y    Dello    me    Pesa . . . 


150  NOTES 

Escarraman.  The  names  of  four  dances  popular  at  the  time, 
and  all  somewhat  licentious.  Hence  the  statement  that  they 
originated  in  hell.  For  information  about  them,  see  Cotarelo  y 
Mori,  Coleccion  de  entremeses,  has,  bailes,  jdcaras,  y  mojigangas, 
Madrid,  1911,  cclxv,  cclxxiii,  cclvii,  and  ccxliii. 

439-440.  mis  puntas  y  collar  escarramanesco,  my  earmarks 
as  a  dancer  of  the  Escarraman. 

LOS  DOS   HABLADORES 

The  action  takes  place  partly  in  the  street,  partly  in  Sarmiento's 
house. 

1-4.  Sarmiento  has  just  inflicted  upon  an  enemy  una  cuchillada 
de  doce  puntos,  'a  twelve  stitch  slash,'  that  is,  a  wound  which  will 
require  twelve  stitches.  He  is  forced  to  pay  his  adversary 
200  ducats  by  way  of  recompense.  Sarmiento  considers  this 
cheap  at  the  price,  and  would  gladly  pay  4Oo'ducats  for  the  satis- 
faction of  inflicting  a  '400  stitch  wound.'  Roldan,  a  starveling, 
soldier  hidalgo,  chancing  to  hear  this  statement,  sees  a  way 
to  make  a  little  money  by  offering  his  body  for  Sarmiento  to 
practice  swordsmanship  upon.  Bonilla  points  out  that  the 
source  of  this  episode  is  the  87th  story  of  the  second  book  of 
Timoneda's  El  buen  aviso  y  portacuentos,  See  Schevill's  reprint, 
Revue  hispanique,  XXIV,  247. 

12.   parte,  party,  in  a  legal  sense. 

21.  que  no  hablare  palabra,  for  (otherwise)  I  will  not  speak  a 
word.  Roldan's  polite  condescension  is  in  humorous  contrast 
with  his  shabby  appearance. 

24.   me  he  visto  en  honra,  I  have  seen  better  days. 

27-28.   donde  fuere  servido,  wherever  you  please. 

34.  i  No  dicen,  etc.  La  necesidad  tiene  car  a  de  hereje,  '  Neces- 
sity has  a  heretic's  (that  is,  a  repulsive)  face,'  is  a  proverb  used 
when  somebody  shuns  a  pauper.  By  extension,  cara  de  hereje 
is  used  of  anything  repulsive. 

34-35.  Pues  i  ddnde  estara,  etc.  Illustrative  of  the  prejudice 
which  the  seventeenth  century  Spaniard  entertained  toward 
heretics. 

37.   We  have  here  to  do  with  an  atrocious  bilingual  pun. 


NOTES  ISI 

Sarmiento  mistakes,  or  pretends  to  mistake,  Roldan's  cara  de 
hereje  for  caret  lege. 

44-47.  la  fisonomia,  y  la  de  vmd.,  etc.,  and  yours  (i.e.,  your 
aspect)  is  malific  on  account  of  the  conjunction  of  Saturn  and 
Jupiter;  although  Venus  looks  upon  you  in  quartile  in  the  decanate 
of  the  sign  ascendant  in  the  horoscope.  I  have  tried  to  translate 
the  astrological  jargon  of  Spain  into  the  English  technical  termi- 
nology. Fisonomia  is  used  in  the  ordinary  sense  of  physiognomy, 
but  the  demonstrative  refers  to  it  as  if  it  had  its  astrological 
meaning,  aspect.  The  aspect  was  the  relative  position  of  the 
stars  in  a  person's  horoscope.  When  one  of  the  important  stars 
stood  90°  away  from  another,  this  position  was  considered  a 
malific  aspect,  one  portentous  of  evil.  Two  stars  were  in  con- 
junction when  they  were  in  the  same  longitude.  The  influence 
of  Saturn  was  especially  baleful.  The  sign  ascendant  is  that  sign 
of  the  zodiac  which  is  due  east  when  the  observation  is  made. 
The  decanoria,  more  commonly  decano  (in  English  decan  or 
decanate),  was  a  10°  arc  of  the  zodiac.  Each  of  the  twelve  signs 
of  the  zodiac  constituted  an  arc  of  30°.  These  were  called 
houses,  and  there  were  three  decans  to  every  house.  Without 
attempting  to  work  out  Sarmiento's  horoscope  in  detail,  it  is 
evident  that  Venus  is  exerting  a  malific  influence  upon  his  family 
life. 

54.  la  reina  Pantasilea.  Penthesilea,  daughter  of  Mars  and 
Queen  of  the  Amazons.  Achilles,  not  Alexander,  was  her  foe 
and  lover.  On  this  subject  Kleist  wrote  his  famous  play,  Penthe- 
silea. Other  versions  of  the  story  say  that  Penthesilea  was  killed 
by  Pyrrhus,  son  of  Achilles.  In  the  Old  Spanish  Libra  de  Alexan- 
dre,  Alexander  has  a  love  affair  with  another  Amazon  queen, 
Calectrix.  The  confusion  here  and  in  the  case  of  the  following 
historical  allusions  is  probably  intentional. 

54-55.  sobre  quitalle  a  Zamora  la  bien  cercada.  The  siege 
of  '  Zamora  the  well  surrounded,'  as  it  was  called  in  many  of 
the  old  ballads,  took  place  in  1072.  Sancho  II  of  Castile  was 
trying  to  wrest  it  from  his  sister  Urraca,  but  was  murdered 
beneath  the  walls  before  he  had  been  able  to  bring  about  its 
fall.  The  siege  of  Zamora  was  one  of  the  favorite  themes  of  Old 
Spanish  epic  poetry. 


152  NOTES 

56.  Pedro  Anzures,  Founder  of  Valladolid,  and  one  of  Spain's 
greatest  epic  heroes,  always  pictured  as  a  pattern  of  loyalty. 
He  flourished  in  the  eleventh  century  under  Alfonso  VI  and  the 
latter's  daughter,  Queen  Urraca.    Among  the  stories  told  about 
him  is  one  of  the  part  he  played  in  furthering  Alfonso's  escape 
from  the  Moors  of  Toledo.    He  caused  horseshoes  to  be  reversed 
in  order  to  throw  the  pursuers  off  the  trail.    See  also  the  ballad 
entitled  Lealted  de  Pedro  Anzures,  in  Duran,  Romancero  general, 
no.  917,  which  tells  how,  when  Alfonso  VII  had  separated  from 
his  wife  Urraca,  Anzures,  placed  in  a  delicate  position  because 
he  was  bound  by  oaths  of  loyalty  to  both,  sides  with  his  'natural 
ruler,'  Urraca.  —  tablas,  draughts,  or  backgammon.     It  is  a  com- 
monplace of  mediaeval  epic  poetry  to  make  a  quarrel  spring  out 
of  a  game  of  tablas. 

57.  Gaiferos,  another  epic  hero,  center  of  a  whole  cycle  of 
ballads.     See    Duran,    Romancero   general,    nos.    374-381.     See 
Mene"ndez  y  Pelayo,  Tratado  de  los  romances  mejos,  in  Antologia 
de  poetas  liricos  castellanos,  XII,  378.  —  Cabanas  y  Olias,  two 
hamlets  famous  in  folk-lore  and  proverb  and  always  associated 
together.    Tirso  de  Molina,  La  mllana  de  la  Sagra,  Act  I,  scene 
xiv,  calls  Cabanas  a  place  where  all  the  inhabitants  are  innkeepers, 
in  plain  language,  thieves;  Olias  is  noted  as  the  home  of  drunk- 
ards.     Moreto,  Lo  que  puede  la  aprehension,  tells  an  unprintable 
story  of  la  novia  de  Olias.    The  towns  are  most  frequently  men- 
tioned in  connection   with  the  widespread   story  of  'the  dog  of 
many  weddings.'     Weddings  are  being  held  simultaneously  in 
Cabanas  and  Olfas.     A  dog,  eager  to  partake  of  both  feasts, 
passes  his  time  running  back  and  forth  between  the  two  towns 
and  misses  both  feasts.      This  story,   of  Oriental  origin,   has 
been  studied  by  Buchanan,  Modern  Language  Review,  V,  78. 

61.  Jer6nimo  Carranza,  a  gentleman  of  Seville,  governor  of 
Honduras  in  1589,  but  best  remembered  as  the  most  formidable 
duelist  of  his  time.  So  feared  was  he  that  a  proverb  grew  up 
respecting  him:  Envaine  usted,  seor  Carranza,  'Sheathe  your 
sword,  Mr.  Carranza.'  This  would  indicate  that  the  attitude 
of  his  opponents  was  as  abject  as  that  of  Davy  Crockett's  coon 
toward  the  great  frontiersman.  Carranza's  textbook  on  fencing 
was  entitled,  De  la  filosofia  de  las  armas,  y  de  la  agresidn  y  de- 


NOTES  153 

fensidn  Christiana,  San  Lucar,  1569.  See  Nicolas  Antonio, 
Biblioteca  Nova,  I,  571.  In  1600,  Luis  Pacheco  de  Narvaez,  the 
fencing-master  so  bitterly  ridiculed  by  Quevedo,  revised  Car- 
ranza's  work,  adding  greatly  to  it. 

62.  Of  course,  Sallust,  not  Terence,  wrote  the  work  on  the 
conspiracy  of  Catiline. 

65.  bernardinas.  Roldan's  speeches  are  typical  bernardinas, 
the  term  applied  by  Spaniards  of  the  time  to  such  stringings 
together  of  nonsensical  statements.  Wags  of  the  period  prided 
themselves  on  their  cleverness  at  this  sort  of  fooling.  Note 
how  nearly  every  sentence  takes  up  a  word  from  the  sentence 
before,  using  it  in  a  new  sense.  The  speaker  of  bernardinas  fre- 
quently breaks  off  in  the  middle  of  a  sentence,  starting  a  new 
idea  before  he  has  completed  the  expression  of  the  old.  It  sug- 
gests the  patter  of  some  of  our  vaudeville  monologists.  The 
French  student  should  read  Sganarelle's  speech  in  Moliere's 
Festin  de  Pierre,  Act  V,  scene  2.  This  was  probably  borrowed 
from  our  text. 

68.  Bernardina.  According  to  the  curious  Loa  famosa  de  las 
calidades  de  las  mujeres  (Cotarelo,  Coleccion  de  entremeses,  etc., 
II,  415),  women  of  this  name  were  reputed  treacherous.  —  San 
Bernardo.  Saint  Bernard  of  Clairvaux,  died  1153,  founder  of 
the  Cistercian  order. 

70.  cuatro  efes.     These   were:    fe,  fineza,  firmeza,  forlaleza. 
See  Lope  de  Vega,  La  esclava  de  su  galdn,  Act  II,  scene  xiii. 
Lope  speaks  of  nine  /'s,  but  does  not  give  them  all.    A  less  com- 
plimentary combination  was  as  follows:  fea,  floja,  flaca,  fdcil, 
frta.     There  were  many  such  combinations  of  alliterative  epi- 
thets.    L6pez  de  Ubeda  assigned  six  p's  to  his  Picara  Justina: 
picara,  pobre,  poca  -oergiienza,  pelona,  pelada,  etc.     There  were 
also  the  four  s's  of  love:  sabio,  solo,  solicito,  secreto.    See  Calder6n, 
Ni  amor  se  libra  de  amor,  Act  III,  scene  ii.    See  Schmidt,  Die 
Schauspiele  Calderon's,  Elberfeldt,  1857,  p.  132.    Also  Clemencin's 
note,  Don  Quijote,  ed.  Clemencin,  III,  50. 

71.  The  author  probably  followed  the  computation  of  Nebrija 
who  in  his  grammar  (1492)  counts  as  follows:    a,  b,  c,  d,  e,  f, 
g,  h,  i,  k,  I,  m,  n,  o,  p,  q,  r,  s,  t,  u,  x,  y,  z.     Covarrubias  gives 
a,  b,  c,  d,  e,  f,  g,  h,  i  (I  =  capital  i  or  j,  but  distinction  is  made 


154  NOTES 

in  small  letters),  /,  m,  n,  o,  p,  q,  r,  s,  t,  v  (divided  into  vowel  and 
consonant;  different  form  used  in  small  letters,  as  in  the  case 
of  i  and  j),  x,  z.  If  we  count  both  i  and  j  (distinct  sounds), 
and  both  u  and  v  (also  distinct  sounds),  we  have  23  letters. 
Covarrubias  gives  as  subdivisions  to  c:  c,  ch,  but  does  not  con- 
sider them  separate  letters.  Like  Nebrija  he  pays  no  heed  to 
//,  n,  and  rr.  The  language  master  in  Lope's  Dama  boba  likewise 
counted  23  letters.  Other  authorities  of  the  renaissance  period 
counted  30,  22,  26.  For  further  particulars  see  Bonilla's  inter- 
esting note,  Entremeses  de  Cervantes,  p.  246.  Most  grammarians 
now  recognize  30  letters.  Bonilla  counts  28.  The  Academy 
sanctions  29,  rejecting  the  foreign  w ,  but  illogically  retaining  k. 

72.  The  expurgation  of  a  clause  makes  a  break  in  the  chain 
of  ideas. 

72-73.  dos  veces  .  .  .  de  vino.  The  Diccionario  de  autoridades 
defines  vez  de  vino  as  a  'draught  or  swallow  of  wine.'  There  is  a 
proverb:  Una  vez  de  vimo,  o  muchas  veces  de  vino,  meaning  that 
the  time  to  stop  is  after  the  first  draught.  Roldan  thinks  two 
swallows  permissible. 

79-80.  quien  tiene  lengua,  etc.  This  proverb  means  that 
the  glib  of  tongue  are  rewarded  with  high  church  office. 

81.  la  Mancha,  a  barren  district  in  the  eastern  part  of  the 
province  of  New  Castile,  in  central  Spain.  This  province  was 
the  home  of  Don  Quijote.  —  Transilvania,  formerly  in  south- 
eastern Hungary,  but  since  1918  incorporated  in  Rumania.  — 
Puebla  de  Montalvan,  a  town  near  Toledo.  The  Spanish  Mon- 
talvan  suggests  the  French  Montauban.  Reinaut  de  Montau- 
ban  was  one  of  the  heroes  of  French  epic  song.  He  also  appears 
prominently  in  the  Italian  epics  by  Ariosto,  Boiardo  and  others, 
and  in  Spanish  balladry. 

83-85.  Charlemagne's  twelve  leading  knights  were  called  the 
Twelve  Peers.  They  did  not  eat  at  a  round  table.  Roldan  is 
confusing,  probably  purposely,  the  customs  of  Arthur's  knights 
with  those  of  Charlemagne;  nevertheless  the  same  confusion  is 
to  be  found  in  the  Italian  epics  and  in  many  Spanish  ballads. 

87.  Ochavo.  This  little  plaza  is  situated  just  west  of  the  cathe- 
dral of  Valladolid.  It  is  noted  as  the  place  where  the  prime 
minister  Alvaro  de  Luna  was  beheaded  in  1453. 


NOTES  155 

88.  maravedi.  This,  the  next  to  the  smallest  coin,  was  1/34 
of  a  silver  real.  To  compare  this  denomination  to  the  gold 
cscudo  must  have  produced  a  humorous  effect.  Ill  the  seven- 
teenth century  the  maravedi  was  no  longer  coined,  but  was 
used  in  reckoning,  like  the  modern  real.  In  very  ancient  times 
the  maravedi  had  had  a  much  greater  value. 

103-104.  De  cuatro  elementos,  etc.  Hippocrates  and  Galen 
and  their  followers  held  that  the  four  '  cardinal  humors  '  were 
bile,  blood,  phlegm,  and  black  bile.  The  health  and  disposition 
of  the  individual  depended  upon  the  equilibrium  of  these  humors. 
Those  in  whom  bile  predominated  were  choleric;  those  in  whom 
phlegm  predominated  were  phlegmatic,  etc. 

106-107.  Los  dineros,  etc.  El  dinero  hace  el  hombre  entero. 
El  dinero  hace  lo  malo  bueno.  El  dinero  hace  bailar  al  perro. 
El  dinero  todo  lo  puede  y  vence. 

in.  caire  =  caere.  Weakening  of  the  e  in  the  unstressed 
syllable. 

128.  un  zapatero  de  obra  prima  was  one  who  manufactured 
shoes  in  contradistinction  to  the  mere  repairer  of  shoes. 

129.  prima.    This  was  the  first,  most  delicate  string,  producing 
the  highest  notes.     The  orden  was  properly  the  series  of  strings, 
but  came  to  mean  nothing  more  than  the  strings  themselves. 
The  Spanish  guitar  originally  had  only  four  strings.     Vicente 
Espinel  is  said  to  have  invented  a  fifth.    The  modern  instrument 
usually  has  six. 

130.  las  ordenes  mendicantes:    the  Franciscans,  Dominicans, 
Carmelites,  and  Augustinians. 

131.  con  cinco.     The  ancient  feudal  custom  of  Spain  was 
that   a   knight   who   challenged   a    whole   city,    corporation,    or 
group  undertook  to  meet  five  champions  one  after  another.    Our 
author  probably  gets  his  information  from  some  one  of   the 
ballads  relating  to  the  siege  of  Zamora.     See  the  ballad,  Sdlese 
Diego  Ordonez: 

porque  sabes  que  en  Castilla  —  hay  un  fuero  establecido, 
que  el  que  riepta  consejo  —  haya  de  lidiar  con  cinco, 
y  si  alguno  le  venciere,  —  el  consejo  queda  quito. 


156  NOTES 

See  Mene"ndez  y  Pelayo,  Ahtologia,  VIII,  87.  See  also  an  older 
version  of  this  in  Primera  cronica  general,  ed.  Men6ndez  Pidal, 
Madrid,  1906,  p.  513. 

133.  Diego  Ordfiflez  was  the  champion  of  Castile  who  chal- 
lenged the  whole  town  of  Zamora  as  traitors  implicated  in  the 
murder  of  his  lord,  Sancho  II.  The  sons  of  Arias  Gonzalo  were 
the  five  champions  chosen  to  defend  the  honor  of  Zamora. 

Following  141.  y  InSs.  Note  y,  instead  of  e.  This  was  com- 
mon in  old  texts. 

161.    de  instead  of  modern  que. 

169-170.  lleve  advertido,  etc.,  bear  in  mind  that  the  court  is 
no  place  for  such  a  bashful  Charley.  She  probably  has  in  mind 
the  common  proverb:  Al  hombre  vergonzoso  el  diablo  llevd  a 
palacio.  Only  the  brazen  could  hope  to  succeed  as  courtiers. 

178-179.    Quien  cae,  etc.,  a  proverb. 

186.  For  similar  riddles  see  Schevill,  Some  Forms  of  the  Riddle 
Question  and  the  Exercise  of  the  Wits  in  Popular  Fiction  and  Formal 
Literature,  Berkeley,  1911. 

205.    era.    Again  the  imperfect  with  the  force  of  a  conditional. 

210-213.  fadrina  is  a  good  Catalonian  or  Valencian  word;  mas- 
sara,  better  massaja,  is  good  Italian;  gaspirria  suggests  Basque 
rather  than  French;  filimoquia  and  moscorra  are  philological 
puzzles;  daifa  was  a  slang  word. 

214-215.  al  uso  de  Gran  Bretafia,  greedily. 

221-222.  Un  muerto,  etc.  A  humorous  distortion  of  a  proverb 
which  Correas  gives  in  the  following  forms:  El  muerto  a  lafosada; 
y  el  vivo,  a  la  hogaza.  El  muerto,  a  la  huesa;  y  el  vivo  a  la  mesa. 
El  muerto,  a  la  mortaja;  y  el  vivo,  a  la  hogaza.  El  muerto,  al  hoyo; 
y  el  vivo  al  bollo.  See  Don  Quijote,  I,  19. 

254.    de  espacio,  for  modern  despacio. 

259-260.    The  best  touch  in  the  whole  play. 

264.  hay  tiempos  de  hablar,  etc.  Ecclesiastes,  m:?:  'a  time 
to  keep  silence,  and  a  time  to  speak.' 

264-265.  quien  calla,  otorga,  silence  gives  consent,  a  proverb. 
Olorgar  is  first  used  in  its  usual  sense,  then  in  its  legal  significance, 
to  execute,  convey. 

266.  testamento  cerrado,  a  written  will,  the  contents  of  which 
the  witnesses  do  not  see.  The  prevailing  law  in  Spain  still  de- 


NOTES  157 

clares  that  such  an  instrument  must  be  signed  by  seven  wit- 
nesses and  a  notary.  The  testamento  abierto,  may  be  executed 
orally  before  three  witnesses,  a  notary  writing  down  the 
provisions. 

278.  pero  no  que  jugaban  de  mono,  but  not  that  they  were  free 
and  easy  with  their  hands. 

308-309.  Pues  reparo  que,  etc.,  Well,  I  give  warning  by  heaven 
that  you  must  endure  it  courageously. 

310.  These  are  not  decimas,  but  rather  what  Rengifo  (Arte 
Poetica  Espanola,  Barcelona,  1759,  p.  36)  terms  the  copla  real. 

340.   flor,  trick,  a  slang  word. 

351.  Cotarelo  suggests  the  emendation  comer e.  This  is 
plausible,  but  unnecessary. 

Following  354.    dandose  vaya,  mocking  one  another. 

ENTREMES  DE  REFRANES 

In  the  case  of  this  farce  the  numbers  given  below  refer  to  the 
proverbs,  not  to  the  lines.  A  proverb  may  often  be  best  trans- 
lated by  an  English  proverb  conveying  the  same  thought,  even 
though  it  be  in  different  words. 

1.  The  skeptic  who  does  not  believe  in  a  good  thing  often 
has  faith  in  something  worse. 

2.  I  thought  that  I  was  making  a  catch. 

3.  A  moneyed  sweetheart. 

4.  A  proverb  derived  from  a  song,  one  verse  of  which  Correas 
gives: 

La  mejor  mujer,  mujer, 
y  la  mis  cuerda  de  lana; 
la  mis  honesta  es  liviana, 
y  la  de  mis  ser,  sin  ser; 
la  de  mis  verdad  engafia. 

5.  Cervantes  gives  it  in  this  form:    Muchos  van  por  lana  y 
vuelven  trasquilados.    Don  Quijote,  I,  ch.  7;   II,  chs.  14,  43,67. 

6.  'Much  ado  about  nothing.'    'Empty  shells  rattle  as  much 
as  whole  nuts.' 

7.  Correas'   explanation:     Por  no   hablar  palabra,   y  de  una 
criatura  que  en  ddndola  a  mamar,  o  comer,  no  inquieta. 


158  NOTES 

9.  The  las  agrees  with  colzas  understood.     The  word  is  ex- 
pressed in  the  fuller  form:    Acordo  poner  tierra  par  media,  y 
tomd  colzas  de   Villadiego.     'Take  Villadiego's  breeches  '  means, 
'Take  French  leave.'     Correas  cannot  explain  the  origin  of  the 
allusion,  but  thinks  there  is  reference  to  some  famous  escape 
on  the  part  of  an  individual  of  this  name  who  has  been  saved 
from  oblivion  by  the  proverb  alone. 

10.  'Don't  think  you  are  doing  me  a  great  favor.' 

11.  'You  can't  squeeze  blood  out  of  a  stone.' 

12.  A  widespread  popular  belief  concerning  the  crow.    Sacarle 
ha  =  te  sacard,  the  divided  future,  common  in  the  old  language. 
Proverb  language  is  archaic.     Correas  says  that  in  older  forms 
of  this  proverb  corvo  was  found.     Either  corvo  or  cuorvo  would 
preserve  the  assonance,  which  cuervo  destroys.     This  would  in- 
dicate that  the  proverb  is  very  old.    Note  the  jingle  to  be  found 
in  most  proverbs.     This  may  take  the  form  of  complete  rhyme, 
or  of  vocalic  rhyme,  assonance. 

13.  'So  that  not  even  the  (empty)  hook  (on  which  the  meat 
once  hung)   has  remained  on  my  wall.'     See   Don  Quijote,   I, 
ch.  25:     Y  muchos  piensan  que  hay  tozinos,  y  no  hay  estacas. 

14.  A  phrase  of  sarcastic  denial.     The  last  thing  a  sparrow- 
hawk  cares  for  is  radishes. 

1 6.   muda  agrees  with  the  nearest  of  the  three  subjects. 

18.  Also:   Agua  que  paso,  molino  no  muele. 

19.  We  say    'to      reckon  without  one's  host,'     meaning,  to 
omit   certain   important   factors   in    making   a   calculation.     A 
variant  by  Correas:    Racer  la  cuenta  sin  la  hornera. 

20.  'One's  best  efforts  are   vain.'     'What  one  accumulates 
dissolves  like  salt  in  water.' 

21.  Slam,    bang,    the    costs,    nothing    more.      Correas    explains 
that  this  is  what  the  notary  or  constable  says  on  witnessing  a 
street  fight,  meaning  that  no  fat  legal  pickings  are  to  be  obtained 
from  such  petty  offenders. 

22.  The  speech  of  a  wife  bragging  of  the  wealth  in  her  father's 
home,  or  contrasting  past  prosperity  with  present  poverty. 

23.  Correas  gives  three  versions:    El  sastre  de  Cantillo  que 
cosia  de  balde  y  ponia  el  hilo.     El  sastre  de  Peralvillo  que  hacia 
la  costura  de  balde  y  ponia  el  hilo.     El  sastre  de  Cigunuela  que 
pone  la  costa  y  hace  de  balde  la  obra. 


NOTES  159 

24.  The  abbot  derives  his  dinner  from  his  song. 

25.  The  opposite  to  our  idea  that  'a  rolling  stone  gathers  no 
moss.' 

26.  The  full  form  in  Correas:     Ya  paso  'solia,'  y  vino  'mal 
pecado.'    I  used  to  has   passed,  and  O  what  a  pity!  has  come. 
The  result  of  my  bad  habit  has  overtaken  me. 

27.  Correas:    Pescador   de   cana,   mas   come   que   gana;    y  si 
ventura  le  corre,  mas  que  gana  come.     Also:    Pescador  de  anzuelo, 
vuelve  a  su  casa  con  duelo. 

28.  He  who  has  a  bad  case  relies  wholly  upon  vociferation. 

29.  When  a  ball  of  yarn  rolls  under  a  piece  of  furniture  one 
can  find  it  by  following  the  thread.    The  idea  is,  by  using  your 
wits  you  can  guess  for  yourself.     '  A  word  or   two   gives  me  a 
sufficient  clue.' 

30.  It  is  not  easy  to  fill  in  the  rest  of  this  proverb.    Possibly 
it  is  this:   Pues  soy  toquera,  y  vendo  tocas,  y  pongo  mi  cofre  donde 
las  otras.     'For  I  am  a  milliner,  and  sell  caps,  and  set  up  my 
stand  where  the  others  do.'     'I  am  just  as  good  as  the  rest.' 
Therefore  I  have  a  right  to  intervene. 

31.  'To  put  my  finger  in  the  pie.' 

33.  'The  village  is  even  worse  than  it  is  reputed  to  be.'    Cor- 
reas:   En  la  aldea  que  no  es  buena,  mas  hay  que  suena. 

34.  'Here  we  are  on  familiar  terms  with  everybody  like  the 
village  bagpipe  player.' —  that   is,  giving   and  receiving  the  iti 
form  of  address.     Correas:    A  tu  par  tu  como  en  taberna. 

35.  Meaning  that  the  subordinate  dances  to  the  tune  of  his 
superior. 

36.  The  scandal-monger  will  get  his  deserts.    One  who  speaks 
ill  of  others,  like  the  eavesdropper,  will  hear  something  to  his 
disadvantage. 

37.  The  one  backward  about  asserting  himself  need  not  expect 
to  prosper. 

38.  'Let  us  start  up  a  row  about  it,  and  let  the  sale  fall  through.' 
Correas:    Echarlo  a  doce,  y  nunca  se  muela.. 

40.  The  rollo  was  a  column  which  stood  outside  a  city  gate, 
and  which  served  as  a  pillory  for  punishing  criminals.  It  was 
symbolic  of  the  city's  jurisdiction.  Hidalgos  claimed  the  privi- 
lege of  sitting  on  the  stone  steps,  a  right  denied  to  commoners. 


l6o  NOTES 

41.  In  the  various   forms  of  this   proverb,  J£rez  was  some- 
times substituted  for  Granada,  and  Portillo  or  Bustillo  for  Tru- 
jillo.     Trujillo  was  a  city  from  which  adventurers  set  forth  to 
all  parts  of  the  world.     With  Caceres  it  was  the  most  noted 
birthplace  of  conquistador es.     To  be  born  in  Granada  and  die 
in  Trujillo  would  be  to  reverse  the  usual  order  of  things.    There 
is  another  proverb  which  states  the  normal  course  of  events: 
Nacer  en  Cdceres  y  morir  en  otra  parte. 

42.  For  in  Duenas  they  married  ojf  (a  couple)  one  just  as  good  as 
the  other.      This  proverb  commemorates  the  marriage  of  Ferdinand 
and    Isabella,  which   took   place  in  the  village  of  Duenas,  near 
Valladolid,  1469.     The  present  application  of  the  proverb  is  ironic. 

43.  'Gifts  overcome  all  obstacles.' 

44.  'Sorrows  are  endurable  if  there  is  food  to  be  had.'     Usually 
menos  is  given  instead  of  buenos. 

45.  'Familiarity  breeds  contempt.' 

46.  Meaning   that   one   should   not   complain   of   the   disad- 
vantages that  go  with  a  good  thing,  or  that  one  should  make 
the  complaint  before  deriving  the  advantage.     Y  has  the  value 
of  'and  yet.' 

48.  A  hit  at  the  upper  classes. 

50.  Don't    go    about    always    disputing.      But    there  is   also   a 
pun  involved.    'Don't  always  be  trying  to  take  back  what  you 
give.' 

51.  For  God  gives  a  hump  to  an  Indian  giver. 

52.  'The  devil  is  not  so  black  as  he  is  painted.' 

53.  /  will  engage  in  bickerings  and  altercations. 

55.  The  world  belongs  to  the  immoderate  man.     The  opposite  to: 
'The  meek  shall  inherit  the  earth.' 

56.  Explained  by  the  other  forms  in  which  the  proverb  occurs. 
Correas:    Escarb6  la  gallina,  y  descubrid  al  cuchillo  para  matalla. 
Also:    Escarba  la  gallina  y  halla  su  pepita. 

57.  A  toilsome  effort  may  bring  an  inadequate  reward. 

58.  'Man  proposes  but  God  disposes.' 

59.  Said    with   reference    to    a   gift    of    secondhand    clothes, 
'Another  has  already  worn  them  out.     They  will  not  last  me 
long.' 

60.  'With  all  her  faults  I  love  her  still.' 


NOTES  l6l 

61.  An  evil  is  endurable,  even  a  joy,  when  shared  by  many. 
Those  who  believe  the  contrary  say:    Mai  de  muchos,  consuelo 
de  tontos. 

62.  'I  turned  a  deaf  ear.' 

63.  'Beggars   may  not  be   choosers.'     'Do   not  look   a  gift 
horse  in  the  mouth.' 

64.  To  a  big  headdress,  a  slight  testimonial.    Said  with  reference 
to  those  ladies  whose  outer  display  contrasts  with  their  empty- 
headedness. 

66.  Suffer  boiling  for  beauty's  sake.     A  French  proverb  goes: 
//  faut  soiiffrir  pour  etre  belle. 

67.  The  day  when  I  neglected  to  dress  up  unexpected  company 
arrived.    A  woman's  excuse  for  excessive  attention  to  the  toilette. 
The  husband  has  a  ready  re  joiner:    El  dia  que  no  escobe,  entro 
quien  no  pense.     Housework  must  not  be  neglected. 

70.  Between  friends,  'A  bedbug  in  your  eye.1    A  friendly  act, 
not  an  insult,  to  speak  an  unpleasant  truth. 

71.  Spoken  by  one  whose  good  qualities  are  unappreciated. 

72.  Majority  rules.    We  say,  '  It  takes  two  to  make  a  quarrel.' 

74.  Something    like    our,    'Rain   before   seven,   clear  before 
eleven.' 

75.  Follow  the  line  of  least  resistance.     We  say,  '  no  chain 
is  stronger  than  its  weakest  link.' 

76.  One  so  bad  will  come  that  he  will  make  me  look  good  by 
comparison. 

77.  Be  still,  and  let  us  both  be  still,  for  we  have  two  (good  miles) 
before  us.     Correas  gives  a  fuller  form  in  which  millas,   with 
which  sendas  agrees,  is  expressed. 

78.  New  shuffles  for   old   accounts.     We   say,    'Let's    have    a 
new  deal.' 

79.  After  the  rabbit  has  escaped,  one  gets  advice.     'Lock    the 
stable  door  after  the  horse  is  stolen.' 

81.    He  who  lives  beyond  his  means  needs  no  'snout,'  because 
he  has  nothing  to  eat. 

83.  Any  name  may  be  substituted. 

84.  We  know  nothing  about  this  legendary  Aja  who  figures 
in  so  many  proverbs  and  songs.     The  name  is  Moorish.     For 
legendary  characters  in  general,  see  Montoto,  Personajes,  per- 


162  NOTES 

sonas  y  personillas  que  corren  par  las  tierras  de  ambas  Castillas, 
Sevilla,  ign. 

85.  'What  is  the  use  of  beating  about  the  bush?  ' 

86.  Truth  stretches  thin,  but  does  not  break. 

87.  'Throw  away  a  squeezed  orange.' 
1.  100.  acabar  razones,  to  cut  talk  short. 

89.  'You  can't  lock  out  evil.'    'A  bad  penny  turns  up.' 

90.  I  no  longer  want  a  dog  with  a  bell.     Correas:    No  quiero 
perro  con  cencerro,  ni  gato  con  polios.     I  want  to  be  free  from 
nuisances. 

91.  Precautions  against  thieves  are  useless. 

93.  Correas  has  fuistes  for  vienes.     He  says  the  allusion  is  to 
certain  floods  occasioned  by  the  rising  of  the  river  Tormes  at 
Salamanca.     The  most  important  of  these  was  in   1625,   when 
much  damage  was  done  and  sixty  people  were  drowned.     We 
may   imagine   the  Salmantinos   addressing   this   remark   to   the 
receding    waters.      The    meaning   is:     'Good    riddance    to   bad 
rubbish.' 

94.  See  note  to  La  Cueva  de  Salamanca,  1.  52. 

95.  Facilitate  the  departure  of  the  objectionable. 

96.  -Like  our  slang,  'It's  all  off.' 

97.  Patience  and  shuffle  the  cards.     You  will  draw  a  better 
hand  soon. 

98.  This  proverb  hardly  does  justice  to  a  hospitable  nation. 
Correas  has  these  variants:    El  guesped  y  el  gtievo,  fresco.     El 
guesped  que  estd  de  espacio,  cansa  y  da  enfado.     El  guespede  y  el 
pece,  a  tres  dtas  hede.     El  guesped  a  menudo,  giiele  a  humo. 

100.    'When  in  Rome  do  as  the  Romans  do.' 

102.  Charity  is  never  waste^d,  even  if  the  object  of  it  be  un- 
worthy. 

103.  To-day  my  turn,  to-morrow  yours.     Supposed  to  be  ad- 
dressed by  the  dead  to  the  living  (Correas). 

104.  One  is  concerned  little  by  another's  sorrow.     Compare 
La  Rochefoucauld's  cynical  maxim,   'We   can    all    endure   our 
neighbor's  misfortunes  with  resignation.' 

106.  Some  have  the  reputation  for  having  done  a  thing, 
though  others  have  in  reality  done  it.  'The  page  slew  the  boar; 
the  knight  got  the  glore.' 


NOTES  163 

107.  Blessings  upon  the  one  who  maintains  the  family  tra- 
dition. 

109.    'Two  birds  with  one  stone.' 

no.    'Nothing  prevails  against  death.' 

112.  The  fact  that  the  rhyme  has  been  lost  shows  that  this 
is  not  the  preferable  form.  The  form  in  the  text  represents  a 
crossing  of  two  distinct  proverb  variants.  See  note,  Los  dos 
habladores,  1.  221-222. 

114.  A  proverb  indicative  of  great  good  fortune. 

115.  A  youth's  money  is  his  charm. 

1 1 6.  'It  is  the  unexpected  that  happens.' 

1 1 8.  Meaning  that  he   who  makes  an  intelligent  start  will 
make  an  intelligent  end. 

1 19.  'When  the  cat's  away,  the  mice  will  play.' 

1 20.  What  fussiness  ! 

121.  Ailments     (or   pretexts)   on  Friday  as   an   excuse  for   not 
fasting. 

122.  'The  Lord  loveth  a  cheerful  giver.' 

123.  A  good  instance  of  a  refrdn  derived  from  a  ballad.    This 
line  occurs  in  several,  notably  in  the  old  Bernardo  del  Carpio 
ballad,  Con  cartas  y  mensajeros.     See  Men6ndez  y  Pelayo,  An- 
tologia,  VIII,  23.     The  messenger  is  not  to  blame  for  his  bad 
news;    merecedes  —  merecels. 

124.  Let  it  be  writ  in  water.     Let  the  whole  matter  come  to 
an  end.     Compare  Keat's  epitaph:    'Here  lies  one  whose  name 
was  writ  in  water.' 

125.  'Open  contrition  is  better  than  secret  dishonor.' 

126.  A  good  yell  follows  a  good  mouthful.     Gluttony  is  fol- 
lowed by  colic. 

127.  'One  man's  meat  is  another  man's  poison.'     Correas: 
lo  que  es  bueno  para  el  vientre,  no  lo  es  para  el  diente. 

1 28.  Translate  arte  as  craft. 

129.  'Two  heads  are  better  than  one.' 

130.  Last  while  it  may,  like  a  spoon  made  of  bread.     Said  of 
things  unlikely  to  last  long. 

131.  Let  every  fellow  go  his  own  way. 

132.  Because   the   miser's   wife   is  forced  to  take  the  initia- 
tive. 


164  NOTES 

134.  Lest  we  degenerate  from  a  nag  to  a  tricky  horse.     'To  go 
from  bad  to  worse.' 

135.  Be  adaptable,  not  stubborn. 

136.  /  can't  succeed  in  getting  out  of  this  square.     A  proverb 
growing  out  of  some  game,  probably  chess.     Note  the  special 
meaning  of  casa. 

137.  Variants  in  Correas:    Amores,  diablos  y  dineros  no  pueden 
estar  secretos.     Amores,  dolor  es,  celos  y  dineros,   etc.     Amores, 
dolores  y  letras,  etc. 

140.  'Still  waters  run  deep.' 

141.  The    cat    of    Marirramos    is    proverbial    for    hypocrisy. 
Variants  in  Correas:    La  gata  de  Marirramos,  que  estd  muerta  y 
caza  ratos.     La  gala  de   Marirramos,   que  se  hacia   muertecina 
para  cazar  los  ratos.     La  gata  de  Joan  Ramos  cierra  los  ojos  y 
abre  las  manos. 

143.  For  there  is  a  wide  interval   between   saying   and  doing. 
'There's  many  a  slip  'twixt  cup  and  lip.' 

144.  A  word  to  the  wise  is  sufficient.     Verbum  sapienti. 

145.  You  can't  fool  me;   gileso,  dialectical  for  hueso. 

146.  The  unyoked  ox  licks  himself  comfortably.     The  bachelor 
is  a  lucky  fellow. 

148.  A  similar  proverb,  used  by  Cervantes:  Tantas  letras 
tiene  un  no  como  un  si. 

150.   cara  de  pascua,  smiling  face. 

152.  He  who  is  silent,  picks  up  stones  ('saws  wood').  The 
talkative  do  less  work.  'Silence  is  golden.'  —  ganar  por  la  mano, 
forestall. 

154.  We  say:    'Between  the  devil  and  the  deep  sea.'     The 
corresponding  Spanish  proverb  represents  the  evil  one  as  him- 
self  having  to  choose  between  two,  for   him,  disagreeable  al- 
ternatives. 

155.  Alvarado  slyly  intimates  that  Dona  Sofia  does  not  pos- 
sess the  qualifications  of  a  good  wife. 

1.  202.  La  sopa,  etc.w  the  only  proverb  repeated  in  this  farce. 

156.  Meaning,  get  the  most  you  can  from  an  unwilling  giver 
but  be  satisfied  with  that  little. 

157.  Silence  gives  consent. 

158.  giiela  =  huela.     The  Spaniard  says:    'The  house  smells 


NOTES  165 

of  man,'  when  a  husband  is  making  an  unsuccessful  attempt  to 
assert  his  authority.     The  application  is  somewhat  different  here. 

160.  'The  early  bird  catches  the  worm.' 

161.  Each  woman  with  her  fitting  mate. 

162.  Complete  in  Correas:     Al  hombre  par  la  palabra,  y  al 
buey  par  el  cuerno  ata,  '  Bind  the  man  by  his  promise,  and  the  ox 
by  his  horn.'    Note  that  ata  provides  an  assonance. 

163.  'An  accident  may  happen  at  the  last  moment.' 

1 66.  From-  an  honest  hand,  an  honest  die.    An  honest  man  does 
not  cheat. 

167.  What  does  the  monkey  want?     Pine  kernels  hulled.     The 
monkey  wants  not  merely  a  gift  of  food,  but  this  food  must 
be  prepared  and  ready  to  eat.     Used  with  reference  to  some 
bit  of  good   fortune  which   comes  without   effort  on  the  part  of 
the  beneficiary. 

168.  We  speak,  similarly,  of  'the  moth  and  the  flame.' 

169.  Evil  recoils  upon  the  author. 

170.  We.  speak  of  dogs  baying  at  the  moon.     Old  dogs  were 
reputed  wiser:    Perro  viejo,  no  ladra  en  vano. 

172.  You  can't  fool  an  old  dog.     Tus  is  the  word  used  in  calling 
dogs. 

173.  Avoid  transactions  with  your  superior;    he  will  get  the 
better  of  you. 

175.  Purses  are  good  (even)  after  Easter,  or  perhaps,  Christmas. 
That  is,  even  if  they  come  late.     'Better  late  than  never.' 

176.  That  you  may  not  make  a  'scene  '  with  me.    Zerolo,  Dar 
a  uno  con  los  ochos  y  los  nueves:    Decirle  cuanto  se  ofrece  sobre 
una  queja  que  se  tiene  de  el. 

178.  Said  with  reference  to  a  little  diversion  in  the  midst  of 
work. 

179.  The  good  dancer  is  a  popular  fellow. 

11.  246-268.  The  first  16  lines  of  verse  are  verso  de  romance, 
with  assonance  in  d-e.  The  last  8  lines  are  twelve-syllable 
verses,  assonated  in  pairs.  The  next  to  the  last  line  has  a 
superfluous  syllable.  We  should  probably  read:  Picarilla, 
I  quieres  salir  de  los  duelos  ?  etc. 

180.  One  of  those  girls  of  the  'you  peeped  too  late  sort.'     Piache 
is  said  to  be  Gallician  dialect  for  piaste.    A  Gallician  is  given  to 


I 66  NOTES 

eat  an  egg  on  the  point  of  hatching.  He  swallows  the  chick, 
which  peeps  as  it  goes  down  his  throat.  He  then  makes  the 
above  remark.  See  Covarrubias,  Tcsoro,  s.  v.  Also  Juan  Ti- 
moneda,  El  buen  aviso  y  portacuentos ,  Part  II,  story  xxxviii, 
edited  by  Schevill,  Revue  hispanique,.  XXIV,  231.  The  story 
is  here  told  of  a  Biscayan. 

181.  Correas:     Para   decir   que   una    es    parlera.      Translate 
freely:    with  a  glib  tongue. 

1.  249.  que  sabe,  delightfully. 

182.  Correas:    Todo  lo  nuevo  aplace,  y  lo  viejo  satisface. 

1.  252.   le  tresqui!6  a  panderetes,  skinned  him  with  her  tricks. 
Panderetes  is  a  slang  word. 

183.  For  she  is  amazingly  sharp.     It  was  said  of  a  good  sword 
that  'it  cuts  a  hair  in  the  air.'     By  extension  this  proverbial 
expression  is  applied  to  people. 

184.  She  left  him  in  the  dark,  that  is,  in  the  lurch.     Correas: 
Cuande  se  apaga  alguna  luz  o  vela  y  quedan  a  obscuras,  y  cuando 
uno  se  despide  a  la  noche,  o  pierde  la  vista,  o  algun  negocio,  se  dice: 
Quedose  a  buenas  noches.     Much  like  our  slang:    'Good  night.' 

185.  How  pretty  she  would  be  if  she  only  dyed  her  hair  blond. 
That  is,  if  she  were  different  from  what  she  is. 

186.  'He  who  has  evil  ways  is  always  up  to  his  tricks.' 

187.  The  water  dances  before  him,  that  is,  everything  is  done 
to    humor    and    please    him.       Covarrubias,    Clemencfn,    and 
Sbarbi  say  that  this  proverb,  indicative  of  diligent  service,  re- 
fers to  the  custom  of  flooding  the  floor  on  a  hot  day,  when  the 
water  seems  to  be  dancing  along  bricks  and  tiles.    See,  Sbarbi, 
Refranero  general,  VIII,  18. 

1 88.  Out    of    the    frying    pan     into     the    fire.     Correas:     La 
sardina  de  Flandes  que,  huyendo  de  las  llamas,  did  en  las  brasas. 
La  sardina  de  Blanes  que,  par  huir  del  fuego,  did  a  las  brasas. 
La  sardina  de  Blanes  salto  de  la  sarten  y  did  en  las  brasas. 

189.  He  who  supplied  your  mouth  made  you  rich.    This  means 
that  it  is  easy  to  get  rich  if  one's  board  bill  is  paid  by  another. 

190.  Because  he  has  the  greatest  cause  for  envying  those  who 
are  his  rivals. 

191.  'A  man  is  known  by  the  company  he  keeps. '    This  proverb 
occurs  in  a  great  variety  of  forms. 


NOTES  167 

EL   DOCTOR  Y  EL  ENFERMO 

The  action  takes  place,  partly  in  the  street,  partly  within 
Dr.  Garatusa's  house. 

The  play  is  written  throughout  in  eleven  syllable  verse.  For 
the  most  part,  these  verses  rhyme  in  couplets;  but  now  and 
then  assonance  replaces  rhyme,  and  certain  verses  are  blank. 

Crispin,  is  a  name  of  Italian  origin,  suggestive  of  the  influence 
of  the  Comedy  of  Masks.  Garatusa  has  several  meanings.  It 
was  the  name  given  to  a  very  effective  fencing  trick,  and  prob- 
ably has  some  reference  to  the  doctor's  blood-letting  propensi- 
ties. Covarrubias  defines  it  as  a  game  of  cards  in  which  one 
player  takes  everything.  The  other  names  are  frequently  used 
in  entremeses.  A  special  study  should  be  made  of  character 
names  in  Spanish  farces. 

8.  sabiendo  a  que  sabe  mi  moneda,  knowing  the  taste  of  my 
money,  'having  been  in  my  employ.' 

18.  £  Y  ha  de  ser,  etc.  Is  the  union  to  be  temporary?  Is  it 
to  be  a  '  trial  marriage  ?  ' 

23.  Argos.  Juno,  jealous  of  Jupiter's  love  for  lo,  a  nymph 
who  had  takan  on  the  form  of  a  heifer,  placed  lo  under  the 
guardianship  of  Argus,  a  monster  with  a  hundred  eyes.  Jupiter 
sent  Mercury  to  remove  Argus.  Mercury  played  on  his  pipes 
until  Argus  fell  asleep,  then  cut  off  his  head  and  gained  posses- 
sion of  the  heifer. 

32.   echar  a  tu  fortuna  el  resto,  stake  your  all;  a  gambling  term. 

38.   tu  le  daras,  etc.,  you  will  cause  the  old  man  vexation. 

40.  Cotarelo  reads  desde  for  de.  I  make  the  change  because 
the  verse,  as  he  gives  it,  is  one  syllable  too  long. 

47.  supiera,  might,  used  loosely,  meaning,    might  have  to,  etc.  ' 

53.   mos,  dialectical  for  nos. 

57.  muesos,  dialectical  for  nuesos  =nuestros. 

59.  To  make  this  verse  scan,  pronounce  habia  as  two  syllables: 
habid.  This  was  a  common  metrical  procedure  at  the  time  of 
Benavente.  The  same  is  true  in  lines  77  and  81. 

63.  echar  ventosas,  apply  cuppings.  The  doctors  of  the  time 
applied  to  the  skin  a  glass  cup  under  which  they  would  produce 
a  vacuum,  either  by  burning  something  beneath  the  cup,  or  by 


I 68  NOTES 

suction.  This  treatment  produced  a  violent  tumefaction  and 
was  thought  to  be  an  effective  remedy. 

65.  This  anecdote  may  be  found  in  Ruiz  de  Alarcon,  Quiin 
engana  mds  a  quien,  Act  I,  scene  ii: 

TRISTAN.    Yo  fui  a  llamar  ckrto  dia 

para  una  enferma  un  doctor; 

y  el,  sin  saber  el  dolor 

o  enfermedad  que  tenia, 

me  dijo:  "Mientras  se  ensilla 

mi  mula,  mancebo,  id; 

y  que  la  sangren  decid; 

que  yo  voy  luego  a  asistilla." 

Alarc6n  repeats  the  same  anecdote,  in  nearly  the  same  words 
in  El  desdichado  en  fingir,  Act  I,  scene  ii.  Writers  of  the  time 
are  unanimous  in  satirizing  doctors  for  excessive  blood-letting. 
The  physicians  deserved  the  abuse  they  received.  These  prac- 
tices lasted  well  into  the  nineteenth  century.  Compare  the 
protests  of  the  English  novelist,  Charles  Reade. 

77.  This  is  a  common  folk-lore  tale.  Benavente's  source  was 
perhaps  Timoneda's  El  buen  aviso  y  portacuentos,  II,  53.  See 
Revue  hispanique,  XXIV,  237.  The  tale  is  also  told  by  Juan 
Cortes  de  Tolosa,  Lazarillo  de  Manzanares,  ch.  x.  —  de  media 
talla,  half  baked,  'one  horse.' 

85.   via,  an  old  form  for  veia. 

88.  In  Spain  straw  is  generally  chopped  very  fine  in  the  opera- 
tion of  threshing.  Pajas  de  bdlago  is  the  unchopped  straw,  with 
the  long  stalk,  like  ours.  It  was  used  to  stuff  saddles. 

91.   Buen  humor,  etc.,    You  are  making  a  display  of  wit  to-day! 

95.  que  soy  cristiano,  etc.,  for  I  am  an  Old  Christian  and  have 
the  certificate.  It  was  so  important  to  be  able  to  show  sangre 
limpia,  that  is,  freedom  from  any  Moorish  or  Jewish  ancestry, 
that  suits  of  law  were  frequently  instituted  to  prove  'clean 
blood.'  The  recently  converted  Moors  and  Jews  were  called 
'  new  Christians  '  in  contradistinction  from  the  genuine  Spaniards 
of  the  old  stock. 

102.  A  criollo,  creole,  was  the  son  of  European  parents  born 
in  the  New  World.  The  word  Indias  is  still  used  loosely  with 


NOTES  169 

reference  to  any  part  of  Spanish  America.     Spaniards  did  not 
use  the  word  America  till  the  eighteenth  century. 

1 1 8.  To  scan  correctly  pronounce  seor  as  one  syllable,   by 
syneresis. 

119.  quienquiera,  any  mere  ordinary  one. 

136.  adulto,  a  possible  comic  distortion  of  adusto,  'melan- 
choly,' 'gloomy,'  which  would  go  well  with  melancdlico.  If  the 
Doctor  cannot  understand  Crispin's  talk  we  can  hardly  hope 
to  comprehend  all  of  it.  Doctors  of  the  time  were  noted  for  the 
obscure,  pedantic  manner  in  which  they  talked.  They  strove 
to  impress  by  a  copious  use  of  Latin  terminology  and  technical 
terms.  The  humor  of  the  present  situation  is  that,  for  once, 
the  tables  are  turned,  and  patient  mystifies  doctor. 

142.  basas,  bases  for  feet.  Covarrubias  says  basas  is  said 
of  one  who  does  all  the  talking.  The  word  may  also  suggest  bazos. 

150.  Cotarelo's  text  repeats  the  yo.  I  omit,  to  make  the 
verse  scan. 

153.  teglerifos,  probably  a  humorous  distortion  of  tegumentos, 
'  teguments.' 

155.  Crispin  continues  to  coin  his  medical  terminology.     He 
speaks  metodo  with  medula,  'marrow,'  in  mind.     His  marrow 
has  solidified,  he  says. 

156.  espicinios,    possibly    for    espinazo,     'backbone.'        The 
word  may  possibly  have  some  connection  with  espiche  which 
means  'dart,'  like  gurguz  above. 

162.  This  line  is  to  be  taken  in  two  senses.  Recamara  meant 
'baggage,'  or  in  slang,  'trick,'  'stratagem.'  See  whether  my 
baggage  has  arrived,  or  whether  my  stratagem  has  come  to  pass. 

164.  birillante.  This  word  seems  to  be  a  coinage  based  upon 
birilla,  a  gold  or  silver  ornament  worn  upon  shoes.  But  it  may 
readily  have  suggested  to  the  Spaniard  of  the  time  the  word 
birlar,  'to  trick,'  'swindle.'  Translate:  /  will  give  him  a  jeweled 
shoe-buckle.  The  word  also  suggests  brillante.  The  puns  are 
impossible  to  bring  out  in  English. 

171.  This  verse  has  a  double  meaning,  referring  to  the  split- 
ting of  the  alleged  troublesome  internal  organ,  and  to  the  sepa- 
ration of  the  lovers.  The  Doctor  is  to  take  the  line  in  the  first 
sense,  Tomasa  in  the  other. 


I 70  NOTES 

174.  No  pienso,  etc.     /  don't  think  he  has  come  for  a  good 
purpose. 

175.  Sangr6me,  etc.     To  make  complete  sense  of  this  non- 
sense   is    probably  beyond    the    powers    of    any    commentator. 
Indio  may  mean  either  Indiana,  American,  or  simpleton,  as  in 
the  phrase  <j  Somos  Indios  ?     '  Do  you  take  us  for  fools  ?  '    Im- 
pulso   is    probably    an    intentional    distortion    of    pulso,    pulse. 
Sangro,  'bled  '  and  vena,  'vein  '  or  'luck,'  'prosperity,'  may  in- 
volve puns.     It  was  the  custom  then  as  now  for  Spaniards  to 
'  bleed  '  prosperous  Indianos.     The  place  where  its  agility  gives 
forth  warmth  is  probably  the  heart.     Crispin  is  in  fact  suffering 
from  'heart  trouble.' 

183.    It  is  necessary  to  pronounce  melancolia,  not  melancolia. 

185.   cualque  cosa,  somewhat. 

198.  Mejor  fuera,  etc.  A  play  on  the  two  meanings  of  caja 
in  the  line  before,  'box,'  and  'drum.'  Mormoj6n  thinks  it  time 
to  beat  the  alarm  and  declare  war. 

207.  The  basilisk  was  a  fabled  creature  of  the  African  desert 
whose  look  was  fatal. 

215.  Syneresis  in  traere.  Pronounce  in  two  syllables.  —  In 
1.  222  pronounce  caes  as  one  syllable. 

222.  Correas:  El  puerco  de  Juan  de  Avila,  cdtale  vivo,  cdtale 
m'.ierlo.  Another  variant  speaks  of  the  pig  of  Juan  Crespo. 
The  anecdote  back  of  the  proverb  is  no  longer  known. 

232.  andar  con  daca  el  CODO,  etc.  Zerolo  gives  for  hacer  cocos: 
Hacer  ciertas  senas  o  expresionss  los  que  estdn  enamorados  para 
manifestar  su  carino.  'To  go  along  with  " Tip-rne-the-wink,"  "Be 
careful  not  to  tip  me  the  wink."  '  More  freely:  'to  be  on  needles 
and  pins.' 

235.  Voto  a  tal !  a  mild  oath,  not  specifying  any  divinity  or 
saint.  I  swear  to  goodness !  —  mos  la  pegaron,  they  got  the  better 
of  us.  The  indefinite  use  of  the  feminine  personal  object  pro- 
noun. As  in  many  similar  expressions,  la  refers  vaguely  to  some 
feminine  antecedent  to  be  supplied. 

252.  Rastreado.     For  a  description  of  this  dance,  also  Raslro 
below,  see  Cotarelo,  Coleccion  de  entremeses,  etc.,  I,  cclviii. 

253.  tabahola,  or  tabaola,  hubbub,   the  same  as  bataola,  with 
metathesis  of  the  /  and  the  b. 


NOTES  171 

ENTREMES  DEL  ESPEJO  Y  BURLA 
DE  PABLILLOS 

The  action  takes  place  in  the  street. 

The  following  verse  forms  are  used:  Lines  1-153,  —  eleven  and 
seven  syllable  verses,  rhymed  in  couplets.  Line  101  is  blank. 
This  may  indicate  that  it  is  superfluous  or  that  another  line  has 
been  lost.  Lines  154-241,  —  eight  syllable  ballad  verse  with 
assonance  in  6. 

1.  Pablillos  thinks  that  he  is  being  pursued. 

2.  muerto  soy,  /  am  being  killed.      Below  (l.io)  Muerto  estoy 
means  rather,  I  am  dead. 

6.  confesor  de  lance,  emergency  confessor. 

16.   que  estoy  sirviendo,  that  I  am  in  service,  or  a  servant. 

1 8.  The  laziest  servant  is  the  best  man,  because  he  is  guilty 
of  fewer  sins  of  commission. 

30.   como  digo  de  mi  cuento,  as  my  story  goes. 

41.  tu  te  quedas,  the  present  as  a  mild  imperative.  See 
Pietsch,  Forms  of  the  Present  Indicative  in  the  Function  of  an 
Imperative,  Modern  Philology,  X,  6. 

50.  por  lo  bueno,  with  good  intent.  Also  below  in  the  other 
sense,  for  the  sake  of  a  good  thing. 

56.  This  mirror  had  some  sort  of  lid  or  cover  (tapd)  which 
could  be  lifted  up.  Others  had  door-like  covers  which  swung 
on  hinges. 

58.  y  todo  =  tambien,  a  common  meaning  in  the  old  language 
and  sometimes  encountered  to-day. 

72.    dirian  to  be  pronounced  in  two  syllables,  diridn. 

76.  porque  un  beso  me  da,  si,  etc.  Translate  as  if  it  read: 
porque  un  beso  me  hubiera  dado,  si  no  me  hubiera  apartado.  Put- 
ting all  this  into  the  present  adds  greatly  to  the  vivacity  of  the 
narration.  See  Bello-Cuervo,  Gramdtica,  §  717. 

94.  Tizona  was  the  name  of  one  of  the  Cid's  famous  swords. 
It  meant  Firebrand. 

112.    J  Hay  tal  apodo  !     A  pretty  name  for  it! 

119.  tamanito  from  meaning  'so  big  '  has  come  to  mean  very 
little.  It  is  accompanied  with  a  gesture  indicative  of  the  size. 


172  NOTES 

1 20.    Pablillos  understands  comer  in  its  limited  sense  of  to  dine. 

125.  No  le  erre  mucho.  /  was  not  so  far  wrong.  Meaning 
that  there  is  little  difference  between  a  tailor  and  a  thief. 

132.  I  Yo,  campanillas!  etc.  'Bells'  for  met  Plague  take 
such  a  nickname!  To  think  that  they  toll  for  a  man  before  he  dies  I 
It  was  the  custom  to  toll  the  passing  bell  while  a  condemned 
criminal  was  being  led  to  the  place  of  execution.  I  think  Rouanet 
is  wrong  in  translating:  Moi,  faire  office  de  cloche!  Mai  nombre 
certainly  means  nickname,  and  the  nickname  in  question  is 
campanulas,  which  may  have  meant  something  like  'gallows-bird.' 

148.   reales,  two  syllables,  by  syneresis. 

151.   que  hay  dichas  de  hombres!    some  men  are  lucky! 

153.   ayudarme.    Infinitive  as  imperative. 

163.  con  diez  de  a  ocho,  with  ten  pieces  of  eight.  The  real  de 
a  ocho  was  a  silver  coin,  worth  eight  reales,  and  represented  ap- 
proximately an  ounce  of  silver.  There  were  also  reales  de  a 
cuatro  and  de  a  dos.  A  real  is  now  worth  five  cents,  and  is  not 
coined.  The  'piece  of  eight'  figures  prominently  in  our  pirate 
stories. 

167.  los  cien  afios  de  perd6n.  We  have  already  had  the 
proverb:  Quien  hurta  al  ladron,  cien  dias  gana  de  perddn.  Pa- 
blillos increases  the  usual  reward. 

198.  ech&stelo  tu  a  perder,  you  made  a  mess  of  it. 

Following  237.  matapecados  were  whips  of  parchment  which 
made  a  loud  noise  without  hurting  the  actors.  They  were  some- 
times called  castigapecados.  For  a  description  of  them  see  Cota- 
relo,  Coleccion  de  entremeses,  I,  clvi.  The  word  means  literally, 
'kill-devils.' 

238.   sotana,  drubbing. 

JUAN  RANA  COMILCN 

The  meter  is  the  usual  combination  of  eleven-  and  seven- 
syllable  verses,  rhymed  in  couplets,  with  an  occasional  blank 
verse  interspersed.  The  concluding  song  is  of  six-syllable  lines, 
assonated.  Lines  187-190  are  in  ballad  meter. 

15.   Hare  la  diligencia,  I  will  attend  to  the  matter. 

21.   deo  gracias.    Pronounce  deo  as  one  syllable,  by  syneresis. 


NOTES  173 

Instead  of  gracias  we  should  expect  the  Latin  gr alias;  but  the 
mixing  of  Latin  and  Spanish,  in  the  case  of  this  phrase,  is 
common. 

27.  malmirado.  My  original  reads  mat  marido,  which  destroys 
rhyme,  and  is  not  what  Casilda  means  to  say.  Rouanet  trans- 
lates: Importun.  This  emendation  seems  obvious. 

38.  con  melancolia,  with  jaundice.  The  principal  symptom 
of  jaundice  is  yellowness 'of  the  complexion. 

46.    i  Hay  mas  gentil  despacho  ?    Can  there  be  prettier  alacrity  ? 

56.   j  Ay  de  mi  duelo,  Alas  my  sorrow  I 

64.  porqueria.     Juan  Rana  misunderstands  hipocondria.     So 
too  with  the  other  medical  terms. 

65.  Compare  what  follows  with  Moliere's  Malade  imaginaire, 
Act  III,  scene  xiv.     Toinette,  posing  as  a  famous  doctor,  tells 
Argan  that  the  seat  of  his  alleged  malady  is  the  lungs.     The 
principal  symptoms  of  Argan's  illness  are  a  craving  for  food  and 
wine,  and  a  propensity  for  taking  naps.     The  possible  influence 
of   this   farce    upon    Moliere    has    been  discussed  by  Martinen- 
che,  La  comedie  espagnole  en  France,  de  Hardy  a  Racine,    Paris, 
1900. 

73.   que  mi  mal  es  cierto,  that  I  surely  am  ill. 

82.  The  preposition  de  is  to  be  understood  before  que.  Prepo- 
sitions are  seldom  repeated  before  relatives,  if  previously  used 
with  the  antecedent. 

92.  The  article  used  with  a  woman's  name  indicates  familiarity 
or  contempt. 

95.  que,  but.  Equivalent  to  sino  que  or  sino.  We  should 
read  mania  to  get  the  requisite  seven  syllables. 

106.  Moors,  like  all  Mohammedans,  were  forbidden  to  eat 
pork. 

no.  A  Moor  in  the  house  was  improbable  enough,  but  a 
Moor  with  bacon  doubly  so. 

113.  creeis  has  to  be  pronounced  as  one  syllable,  by  crasis. 
So  too  the  forms  of  this  verb  in  lines  160,  161,  162. 

116.  If  he  is  not  to  be  allowed  to  eat  bacon,  he  might  as  well 
be  a  Moor  himself. 

117.  si  aquello  pasa,  if  that  takes  place,  if  that  is  really  so. 
123.   con  senas  declaradas,  clearly  indicated. 


174  NOTES 

139.  Si  sois  vos.  Juan  Rana  begins  to  doubt  the  reality  of 
the  doctor. 

140-141.    Galician  dialect.     In  Castilian: 

Aqui  van  acei tunas,  pan,  y  vino; 
yo  no  puedo  sufrir  mas  el  camino. 

144.    craro,  dialectical  for  claro. 

147.  Tantalo.  A  mythological  character  who  was  tortured 
by  the  sight  of  food  and  drink,  always  just  beyond  his  reach. 
The  rhyme  shows  that  the  stress  is  on  the  penult.  Modern  spell- 
ing :  Tdnlalo. 

153.  «iEs  cura  del  Japon?  Many  Spanish  Jesuit  fathers 
visited  Japan  during  the  seventeenth  century,  and  were  cruelly 
tortured  by  the  natives.  After  the  final  expulsion  of  the  mis- 
sionaries, Japan  remained  a  hermit  nation  until  opened  to  civiliza- 
tion by  Commodore  Perry. 

159.   por  su  engano.    Note  the  double  meaning  in  these  words. 

176.    habia,  to  be  pronounced  kabid. 

179.  huerte,  dialectical  for  fuerte.  He  misunderstands  flato 
as  flauto. 

184.  porque,  etc.,  because  I  won't  restrain  myself  on  seeing  a 
table. 

185.  Syneresis  in  Sentaos. 

189.  Four  lines  of  ballad  meter,  verso  de  romance,  eight- 
syllable  verses,  the  even  assonating  in  d-e. 

192.  Quien  tal  hace,  etc.  This  was  the  formula  used  in  Spain 
by  the  officers  of  justice  as  they  led  a  condemned  criminal  to 
his  punishment.  It  was  sometimes  followed  by  a  second  line: 
alza  la  mano  y  dale.  The  idea  is:  Serves  him  right. 

199.  A  humorous  distortion  of  the  proverb:    Muera  Maria  y 
muera  harta.     Death  can  be  faced  with  a  full  stomach.     There 
is  no  such  name  as  Mario. 

200.  De  la  sombra  parto.    The  phrase  has  a  double  meaning. 
Juan  Rana  expects  the  doctor  to  take  parto  as  a  noun,  and  the 
whole  phrase  in  this  sense:    the  offspring  of  shadow.     His  secret 
meaning  is:   /  am  departing  from  shadow,  that  is,  I  am  beginning 
to  see  jiow  matters  stand.    Parto  is  here  taken  as  a  verb.    Rouanet 


NOTES  175 

overlooks  the  second  possibility,  and  gives  the  half  line  to  the 
Doctor,  erroneously. 

203.  me  embaraza  lo  que  hablo,  meaning  that  talking  hinders 
his  eating. 

208.  de  palos.  This  partitive  use  of  de,  common  in  the 
Middle  Ages,  survives  in  a  few  stereotyped  phrases,  such  as 
dar  de  palos,  dar  de  -coces. 

216.  Galeno.  Claudius  Galenus  (131-200?  A.  D.),  a  famous 
doctor  and  writer  on  medicine.  His  works  were  preserved  by 
the  Arabs,  and  through  them  reached  Europe  in  the  middle 
ages.  They  were  authoritative  well  into  the  eighteenth  cen- 
tury. 

220.    Four  six-syllable  verses,  the  even  lines  assonating  in  6-a. 

223.  le  entendio  la  trova,  understood  his  game,  a  free  transla- 
tion. A  troiia  was  a  metrical  composition  thus  denned  by  Zerolo: 
Composition  metrica,  formada  a  imitation  de  otra,  siguiendo  su 
metodo,  estilo  o  consonancia,  o  parificando  una  historia  o  fdbula. 
Juan  Rana's  final  verses  are  a  reply  to  the  lines  previously  sung 
by  the  musicians,  just  as  the  beatings  administered  to  the 
Doctor  and  Casilda  are  his  answer  to  the  trick  they  tried  to  play 
upon  him. 

ENTREMES  DE  LOS   BUNUELOS 

The  action  takes  place  in  the  street. 

The  metrical  scheme  of  this  farce  is  as  follows: 

1-73.  Eleven  and  seven-syllable  verses  rhymed  in  couplets  with 
occasional  blank  lines.  There  are  only  two  seven-syllable  lines. 

74-219.    Eight-syllable  ballad  meter,  with  assonance  in  6-0. 

220-223.  Alternate  seven  and  five-syllable  verses,  with  alter- 
nate assonance  in  e-o  and  u-o. 

5  y  ten  buen  modo,   and  mind  your  manners. 

6  sobrina.      A  marriage  between  uncle  and  niece  was  and  is 
possible  under  Spanish  law. 

8.   This  statement  by  the  master  partially  motivates  the   cre- 
dulity later  shown  by  the  servant. 
ii.   i  Sacudiste,  did  you  dust? 


176  NOTES 

13.  The  following  dialogue  is  a  variation  of  the  common 
'  Bad  News  '  story,  known  to  the  folk-lore  of  most  countries. 
A  servant  tells  his  master  a  whole  series  of  catastrophes,  each 
worse  than  the  preceding,  and  each  growing  out  of  the  other. 
For  a  study  of  this  motive,  see  Crane,  The  Exempla  of  Jacques 
de  Vitry,  London,  1890,  pp.  216-18,  where  the  English  variant 
is  also  reproduced.  In  Spanish  literature  the  story  is  found  in 
Petrus  Alfonsus'  Disciplines  Clericalis  and  Climente  Sanchez's 
Libra  de  Exemplos,  cxxiv.  Our  present  version  is  somewhat 
different  from  these,  and  unique  in  the  ridiculous  anti-climax 
with  which  it  ends. 

1 8.   me  puso  en  las  narices,   you  put  it  into  my  head  that,  etc. 

21.  sin  decir  bueno  ni  malo,  without  saying  a  word,  without 
more  ado. 

25.  Mucho  tengo  de  hacer,  si,  etc.,  /'//  be  doing  a  great  deal, 
if,  etc. 

27.  habra  =  habla;  preito  =  pleito  {1.  44);  puebro  =  pueblo, 
(1.  207).  These  and  other  dialect  forms  indicate  that  Lorenzo 
is  a  stupid  peasant. 

33.  Ello  seran  tus  cosas.  Agreement  of  the  verb  with  the  pred- 
icate noun  rather  than  with  the  subject.  Like  the  French:  ce  seront. 
Meyer-Liibke,  Grammaire  des  langues  romanes,  III,  417,  gives 
for  Spanish  this  example  from  Don  Quijote:  la  litera  eran  andas. 

36.   peor,  one  syllable,  by  syneresis. 

40.  itenerario  =  itinerario.  Another  example  of  weakening  in 
the  unstressed  syllable. 

48.   real  is  to  be  pronounced  as  a  monosyllable,  by  syneresis. 

56.  zahories  were  persons  supposed  to  be  gifted  with  the 
power  of  seeing  hidden  objects,  even  those  buried  in  the  ground. 

68-69.     darle  .   .  a  saco  a  una  confiteria,    give  your  lady  and 
mine  a  confectionery  shop  to  ravage  on  its  proceeds. 

73.  lleguis  =  llegueis.  See  MenSndez  Pidal,  Manual  de  gra- 
mdtica,  4th  ed.,  p.  289. 

83-  i  y  c6mo  que  ya  me  acuerdo !  Indeed  I  do  remember  you 
now ! 

87.    dias  is  to  be  pronounced  as  a  monosyllable,  by  syneresis. 

106.   en  mi  vida,  never  in  my  life. 

134.   Eso  es  comer  por  poderes.     That  is  eating  by  proxy. 


NOTES  177 

150.  Remember  that  sentir  means  either  feel  or  regret.  Lorenzo 
here  gives  the  verb  the  second  of  these  meanings. 

154.  j  Que  hubiesemos,  etc.  To  think  that  we  should  have 
eaten  so  much! 

164.  apoplejia  ad  honorem,  an  honorary  case  of  apoplexy.  He 
had  done  nothing  to  earn  it. 

201.   que  en  dep6sito  la  tengo,  for  it  has  been  entrusted  to  me. 

208.  My  original  reads:  te  mate.  I  have  changed  te  to  me 
on  the  authority  of  lines  202  and  210.  Rouanet  reads  te  in  both 
202  and  208.  He  evades  the  difficulty  offered  by  line  210  with 
a  very  free  translation.  I  have  preferred  to  make  this  one 
emendation  rather  than  to  change  matarme  (202)  to  matarte, 
and  se  (210)  to  le.  This  last,  however,  may  be  correct. 

217.   del  mal  lo  menos,  the  least  of  two  evils.    A  proverb. 

EL  HAMBRIENTO 

The  action  takes  place,  partly  in  the  street,  partly  in  the 
Vejete's  house. 

The  meters  employed  are: 

1-50.  Eleven-  and  seven-syllable  verses,  rhymed  in  couplets 
with  occasional  blank  verse. 

51-222.    Ballad  meter,  with  assonance  in  d-a. 

223-230.  Two  coplas  of  alternate  seven-  and  five-syllable 
verses,  the  odd  lines  blank,  the  even  in  assonance.  First  copla, 
d-o;  second,  e-o. 

18.  Hagome  hombre,  freely  translated,  /'//  stand  the  rest  of 
you.  This  was  the  phrase  with  which  a  player  in  the  game  of 
hombre  announced  his  intention  of  playing  for  the  stakes  single 
handed  against  the  rest.  Literally:  'I  become  man.' 

32.  el  tiene  media  capa,  y  yo  una  gorra.  He  has  a  half  cloak, 
that  is,  he  is  charitably  disposed,  like  St.  Martin  who  divided 
his  cloak  with  a  beggar.  Notice  that  the  host  is  named  Don 
Martin.  The  name  Martin  was  symbolic  of  hospitality,  just 
as  Lazaro  was  indicative  of  hunger.  And  I  a  cap,  to  hold  out 
for  the  purpose  of  receiving  alms.  Gorra  and  gorrdn,  meant 
often,  'sponge,'  'parasite.'  The  phrase  vivir  de  gorra,  means 
'to  live  at  another's  expense.' 


I 78  NOTES 

36.  Hoy  sacareis,  to-day  you  will  give  your  stomach  a  treat. 

37.  Tiene  el  vejete,  etc.      The  old  man,  friend,  is  hospitable. 
40.   La  boca  se  me  hace,  etc.,  My  mouth  waters. 

42.  El  ave  cerindongo.     I  am  unable  to  explain  this  word, 
not  found  in  any  of  the  dictionaries,  except  to  point  out  that 
the  word  dongon,  denned  griilla,  'crane,'  is  used  in  the  Philippine 
Islands.      Cerindongo    may    perhaps    be    related    to    the    word, 
cingolondango,  the  name  of  a  mechanical  crane  (ciguenal)  used 
for  drawing  water  from  wells.    The  point  of  the  joke  would  then 
be  that  the  speaker  includes  a  mechanical  crane  in  his  list  of 
birds  of  the  crane  family. 

43.  sea,  one  syllable,  by  syneresis. 

44.  el  ave  zancas,  a  wading  bird,  like  the  heron,  flamingo, 
etc.     These  are  now  generally  called  zancudas,  as  a  collective 
designation. 

45.  marfrodios.     I  am  unable  to  explain  this  word,  spelled 
morfrodios,  line  185.     From  the  context  it  would  seem  to  mean 
some  sort  of  culinary  concoction,  like  the  pepitoria  and  the  pepidn. 

48.  Antes  del  juego,  etc.,  Don't  make  me  a  long  enumeration 
before  the  show  begins.  The  retablo  was  a  canvas  on  which  were 
painted  a  series  of  pictures  representing  the  events  to  be  repre- 
sented in  a  puppet-show  or  some  other  form  of  entertainment. 
Itinerant  ballad  singers  still  carry  them  about  in  Spain.  Lazaro 
does  not  want  a  description  of  the  show,  but  the  show  itself. 

55.  This  clock  was  noted  for  its  inaccuracy,  if  we  may  judge 
from  this  passage  in  Lamini's  Baile  cantado  de  los  relojes: 

El  reloj  de  Santa  Cruz 
soy  que  en  la  carcel  me  veo, 
con  que  jamis  cierto  ando 
por  hallarme  entre  sus  yerros. 

60.   que  rabia,  in  a  way  to  drive  one  crazy. 

61-62.  Hetele  por  donde  viene,  etc.,  a  variation  of  the  first 
lines  of  the  ballad  on  the  courting  of  Urraca  by  Bucar,  a 
Moorish  king.  See  Duran,  no.  858: 

Helo,  helo  por  do  viene 
el  moro  por  la  calzada, 


NOTES  179 

caballero  a  la  gineta 
encima  una  yegua  baya,  etc. 

65.  la  ha  de  tragar,  la  is  the  indefinite  feminine;  tragar  in 
the  sense  of  'swallow  a  bitter  dose.' 

71.  alza  figura,  he  casts  a  horoscope,  a  term  in  astrology.  But 
here  there  is  a  pun,  the  speaker  having  in  mind  the  literal  mean- 
ing, elevates  (his)  figure. 

76.    The  enfermedad  is,  of  course,  hambre. 

81.    seor,  one  syllable,  by  syneresis. 

90.  oleada.  This  word  contains  a  pun.  D.  Lazaro  has  re- 
marked: se  nos  va  la  comida,  'the  dinner  is  slipping  away  from 
us,'  a  phrase  which  might  be  used  of  a  dying  person.  When 
asked  why,  he  replies:  Because  it  has  received  the  extreme  unction. 
Taken  in  another  sense,  the  answer  means:  Because  it  is  'hel- 
loed for.'  The  reference  is  to  the  Vejete's  /  Ola,  ola!  line  87. 
For  a  similar  pun  on  /Ola!  see  Tirso's  Tanto  es  lo  mas  como  lo 
de  menos,  Act  I,  scene  vi. 

92.  que  no  sabeis  en  la  casa  que  estais.  An  interesting  case 
of  attraction  of  the  preposition  away  from  the  relative  to  the 
relative's  antecedent.  Translate  as  if  en  stood  before  que. 

IOT.   Traed,  one  syllable,  by  syneresis. 

104.  no  ha  de  haber  falta.  La  falta,  etc.,  there  must  be  no  lack. 
The  lack  is  what  we  now  are  experiencing. 

117.  y  no  se  le  alcanza  de  esto,  and  she  has  no  grasp  of  this 
sort  of  thing. 

1 1 8.  Tampoco  a  mi,  etc.,   Neither  can  I  grasp  it. 
139.    Lazaro's  speech  is  another  bernardina. 

162.  pues  ven,  etc.,  since,  by  reason  of  such  great  unceremoni- 
ousness, you  see  how  great  a  friend  I  am. 

1 66.  The  maza  was  a  pole  or  block  tied  to  the  tail  of  a  dog, 
monkey,  or  other  animal  to  plague  him  or  prevent  him  from 
running  away. 

208.   peor  esta  que  estaba,  it  is  worse  and  worse.    A  proverb. 

220.  Pues  todo  se  queda,  etc.,  Since  it's  all  in  the  family, 
gentlemen,  the  least  of  two  evils. 

226.  mucho  he  tragado,  I  have  swallowed  (i.e.,  put  up  with) 
a  great  deal. 


ISO  NOTES 


LAS  TERTULIAS   DE  MADRID 

The  play  is  written  throughout  in  ballad  meter,  with  assonance 
in  d-a,  a  most  unusual  tour  de  force. 

Petimetras  are  the  Spanish  counterpart  of  the  French  petites- 
maitr esses,  young  ladies  of  fashion.  A  feminine  formed  on  the 
masculine  petimetre,  French,  petil-maitre. 

17.    deprisa,  when  one  is  in  a  hurry. 

28.  baje,    a  colloquial  violation  of  the  sequence  of  tenses. 
One  would  expect  bajase. 

29.  y  quede  por  mi?  and  act  for  myself. 

32.   ninguna  a  tiesa  me  gana,  nobody  beats  me  for  stubbornness. 
54.   a  dos  manos,  a  pun  involving  the  two  meanings,  readily 
and  with  two  hands. 

71.    queria,  was  about  to. 

98.  Si  no  puedo,  etc.,  Why  I  can't  manage  to  speak.     Pedro 
is  panting  from  his  exertions. 

99.  Gil  Ventosa.     A  comic  name  for  a  doctor.    The  meaning 
of  ventosa  has  already  been  given. 

104-105.    iEs  desgracia  o  accidents?    7s  it  a  (mere)  ailment 
or  a  sudden  attack  ? 

109.  Dona  IneV  words  lead  Don  Gil  to  believe  that  she  is 
the  victim. 

120.  avisarla.  Translate  la,  'them.'  It  refers  to  tcrtulia  in 
its  collective  sense.  Tertulia  means  both  'party  '  and  'guests 
at  a  party.' 

123-124.  j  Pues  vaya,  etc.,  Well,  indeed,  that's  a  smallish  num- 
ber to  notify!  Ironical. 

129.  se  acabo  =  se  ha  acabado. 

130.  Don  Ant6n,  too,  thinks  Dona  Lie's  the  patient. 
146-147.;  Que  no  alquile,  etc.   To  think  that  one  who  hires  cahes 

should  not  also  hire  feet!  Pedro  is  a  fashionable  page,  hired  on 
account  of  his  handsome  calves.  He  objects  to  serving  as  er- 
rand boy,  and  displays  the  same  selfishness  as  the  rest. 

156.   esta  desdichada,  meaning  herself. 

170.  cuanto,  the  reading  cuento  in  the  original  is  evidently 
a  mistake  for  cuanto. 


NOTES  l8l 

178.    dice  =  se  dice,  or  dicen. 

195.  Ironical.  Dona  Ana  thinks  the  guests  more  deserving  of 
attention  than  the  patient. 

206-207.  por  que  no  sacan  de  refrescar,  why  don't  they  bring 
in  refreshments? 

215.  lo  primero  es  lo  primero,  etc.,  what  is  first  in  importance 
must  be  first  attended  to. 

227.  Sirvanse,  etc.,  Please  to  open  the  door  yourselves,  for  they 
(the  maids)  are  busied  within. 

232-233.  j  Gracias  a  Dios !  The  usual  Spanish  greeting  to  a 
guest  from  without. 

242.  larga,  tiresome,  boresome. 

243.  una  visita  de  enfermo.    This  Spanish  custom  is  the  only 
thing  which  renders  plausible  the  continuance  of  the  tertulia 
under  such  unnatural  circumstances. 

247-248.  Cuanto  mas  quedo,  etc.  The  quieter,  the  better  the  flirta- 
tion. 

252.  tipsana,  the  Spanish  form  of  the  French  tisane,  infusion, 
decoction. 

255.  i  Esperanzas?  Joaquin  apparently  has  in  mind  the  com- 
mon phrase,  alimentarse  de  esperanzas,  'to  live  upon  hopes.' 
The  Abate  Primero  gives  the  word  a  flirtatious  twist. 

264.  co jo  la  rauta,  clear  out,  the  present  with  future  implica- 
tion. Rauta  is  from  French,  route,  'road.'  This  is  one  of  several 
hispanized  words  in  the  text  indicative  of  the  French  influence 
of  the  period. 

268.  majas.  The  immoral  women  of  the  lower  classes  were 
so  designated  at  the  time  of  Ramon  de  la  Cruz.  They  were 
brazen,  insolent,  and  conspicuous  in  their  dress.  Many  of 
Goya's  paintings  depict  them.  Ladies  sometimes  affected  mdja 
ways  and  dress. 

269-270.  sobre  quien  se  lleva,  etc.,  as  to  who  carries  the  cat  to  the 
water.  The  girls  are  resisting  arrest,  and  the  outcome  is  uncer- 
tain. This  proverbial  expression  is  used  with  reference  to  any- 
thing done  in  spite  of  resistance.  Freely,  as  to  who  will  get  the 
better  of  the  argument. 

280-281.  Amigas,  etc.,  Friends,  make  up  for  what  is  lacking, 
for  to-day  everything  goes  so,  so. 


182  NOTES 

286.  seals,  one  syllable,  by  syneresis. 

294.  vaya  al  paso  esta  tajada,  take  this  slice  on  your  way. 

320.  Venga,  etc.,  Let's  have  a  pinch  of  Havana  (snuff). 

321.  Y  rico,  and  choice  it  is. 

324-325.  i  No  es  el  ejemplillo  rana,  etc.,  Isn't  the  example  admir- 
able for  some,  etc.  The  moral  of  the  sainete  is  partially  brought 
out  in  the  words  of  the  two  doctors.     Notice   that,    unlike   the 
entremeses,   this  play  depicts  doctors  in  a  favorable  light. 

336.  una  tarasca,  a  fright.  The  tarasca  was  the  image  of  a 
dragon  carried  in  a  religious  procession.  It  was  especially  asso- 
ciated with  the  town  of  Tarascon,  France.  Pepito  means  that 
the  ugliest  women  and  the  most  incompetent  doctors  may  re- 
ceive the  most  callers. 

344.    Dr.  Jalap  is  another  appropriate  name  for  a  doctor. 

349.  The  first  one  to  play  in  a  game  of  cards  is  called  la  mono; 
the  last,  el  pie. 

352.   tenemos  novedad?   is  something  wrong  with  us? 

362-363.  Cuenta  con  gritar,  etc.,  Be  careful  about  yelling,  if  they 
trump  one  of  your  manilles.  In  the  game  of  hombre,  the  manilles 
were  the  deuce  of  spades  or  clubs,  and  the  seven  of  hearts  or 
diamonds.  In  the  game  of  malilla,  the  nine  spots  were  manilles, 
and,  like  the  bowers  in  euchre,  take  cards  usually  having 
a  higher  value.  To  trump  a  malilla  was  as  serious  an  offence 
as  to  trump  one's  partner's  ace  in  whist. 

373.  seguidillas  del  hole.  The  seguidilla  is  a  popular  verse 
form,  often  improvised,  sometimes  of  a  single  four-verse  stanza, 
but  more  often  with  a  second  three-line  stanza  added.  Five- 
and  seven-syllable  lines  alternate  thus:  7,  5,  7,  5;  5,  7,  5.  Lines 
2  and  4,  5  and  7  assonate  separately;  the  others  are  blank.  The 
words  of  the  seguidilla  are  witty  and  epigrammatic,  often  al- 
luding teasingly  to  some  person  present,  who  returns  tit  for  tat 
by  reciting  another  of  the  same  kind,  directed  against  the  first 
singer.  The  hole,  or  ole,  is  an  Andalusian  dance.  Seguidillas 
del  hole  are  sung  to  the  music  of  this  dance. 

378.  peti  represents  Pepito's  faulty  pronunciation  of  French 
petite,  'little.' 

382.  en  seco,  without  accompaniment.  With  accompaniment 
the  seguidilla  would  take  longer  to  sing,  and  would  be  noisier. 


NOTES  183 

383.    j  Y  que  lo  oyeran !     And  suppose  they  should  hear  it! 

386.   Vaya  una  coplita.     Here  goes  for  a  little  stanza. 

389.  en  mano  de  favorito,  in  a  hand  when  the  favorite  suit  is 
trump.  In  some  games  one  of  the  four  suits  is  determined  upon 
to  be  'favorite.'  Stakes  are  doubled  when  this  suit  is  trump. 
A  bad  play  is  doubly  unfortunate  under  these  circumstances. 

396-397.  nuestro  amigo,  etc.,  our  friend  is  departing  post  haste. 

406-407.  mi  danza  de  monos.  By  '  monkey-dance '  Pepito  means 
his  outfit  of  puppets.  There  is  evidence  that  the  titeres,  or  pup- 
pets, were  known  in  Spain  during  the  Middle  Ages.  In  1556 
Giovanni  Torriani,  (Juanelo)  a  celebrated  Italian  engineer,  con- 
structed puppets  to  amuse  the  idle  hours  of  the  retired  Emperor 
Charles  V.  Strolling  exhibitors  of  puppet-shows  are  described 
in  Don  Quijote,  El  retablo  de  las  maramllas,  and  by  L6pez  de 
Ubeda  in  his  Picara  Justina.  The  plays  performed  are  generally 
national  in  theme,  deriving  from  old  romances  of  chivalry,  bal- 
lads, lives  of  the  saints,  Bible  stories,  etc.  The  bull  fight  is  occa- 
sionally represented.  For  further  information  see,  Magnin,  His- 
loire  des  marionnettes  en  Europe,  Paris,  1862,  and  Maindron, 
Marionnettes  et  guignols,  Paris,  n.  d. 

409.   purchinelas  =  pulchinelas,  the  more  usual  term. 

412.    Mr.  Punch's  Spanish  name  is  Don  Cristobal  Pulchinela. 

413-414.  All  these  characters  occur  in  the  stock  Punch  and 
Judy  play  with  which  we  are  familiar.  The  madama  is  probably 
the  Spanish  equivalent  of  Judy. 

415.  The  silvatillo,  also  called  pito  and  cerbatana,  is  a  whistle- 
like  contrivance  which  the  operator  puts  into  his  mouth  to  get 
a  peculiar  intonation  for  the  part  of  Punch. 

417.   Se  mete  bulla.    It  raises  a  racket. 

423.   vais,  second  plural  subjunctive,used  as  a  polite  imperative. 

444.   madamas  =  French,  mesdames. 

446-447.  cuanto  mas  acompafiada,  mejor.  The  more  company 
a  lady  has,  the  better. 

466.  The  sword  was  a  part  of  a  gentleman's  street  costume 
everywhere  during  the  eighteenth  century.  The  removal  of  the 
swords  would  indicate  the  intention  to  make  a  protracted  stay. 

472.  tengala  tragada,  freely,  swallow  this  bitter  draught.  The, 
la  is  the  indefinite  feminine. 


184  NOTES 

489.  yo  en  asunto  de  papeles,  in  business  matters  I  am  a  bit 
of  a  dunce.  • 

491-492.  tengo  una  oficina  pesada.  I  am  overburdened  with 
office  work. 

500.  que  yo  descubri,  etc.,  that  I  revealed  the  manille.  The 
offending  partner  has  played  his  ace  at  the  wrong  time. 

501-502.  £  Cabe  en  los  hombres  de  honor,  etc.,  Can  men  of 
honor  make  such  false  return  ?  Dona  IneV  eyes  are  now  opened. 
However,  the  psychology  of  this  character  is  not  convincing. 

503-505.  Don  Luis  indicates  that  the  game  has  gone  far 
enough.  By  vinegar  he  alludes  to  the  sour  words  which  he 
knows  are  coming. 

510.   copiada,  in  the  form  of  an  imitation. 

523.  La  has  a  weak  demonstrative  force.  It  is  almost  equiva- 
lent to  esta.  The  same  applies  to  el  in  lines  539  and  545.  We 
note  something  similar  in  phrases  like  a  la  vez,  a  la  sazon,  etc. 
See  Hanssen,  Spanische  Grammatik,  Halle,  1910,  §  53,  2. 

538.  el  que  socorre  la  plaza,  the  one  who  relieves  the  fortress, 
that  is,  the  one  who  remedies  his  need. 

550.  porque  hace  malas  noches,  because  evening  is  a  time  of 
boredom. 

567.    The  por  depends  upon  ansias  in  Dona  Petronila's  speech. 

573~574-  pues  ya  nos  ban  visto,  etc.,  since  they  have  now  seen 
our  hands,  and  if  we  stake  the  remainder,  etc. 

578.  hachas.  At  this  time  there  was  no  systematic  lighting 
of  the  streets  in  Madrid,  or  for  that  matter  anywhere.  Those 
who  went  out  late  in  the  evening  were  accompanied  by  linkboys 
carrying  torches. 


VOCABULARY 


a  to,  on,  upon,  towards,  against, 
in,  within,  at,  with,  by,  from, 
at  the  rate  of,  of,  until,  if, 
around;  diez  de  —  ocho  ten 
pieces  of  eight;  de  .  .  .  — 
between  .  .  .  and.  (Denoting 
ace.  not  to  be  translated) 

abad  m.  abbot 

abajado,  -a  humbled,  humili- 
ated, (with)  head  lowered 

abajo  down 

abate  m.  abb6  (priest  addicted 
to  society) 

ABC  m.  A  B  C,  alphabet 

abierto,  -a  open 

abrasar  burn 

abrazar(se)  embrace;  — se  de 
clutch,  seize 

abrir  open,  open  the  door 

abuelo  m.  grandfather 

aca  here,  until  now 

acabar  end,  finish,  complete, 
get  through,  stop;  -  -  con 
put  an  end  to;  —  de  have 
just;  ;  acabe !  get  through, 
stop,  come  now;  no  estan 
acabados  de  pelar  they  are 
not  wholly  plucked;  — se 
end,  finish,  consume 

acariciar  caress 

acarrear  take  in  a  cart 

acaso  perchance,  perhaps 

accidents  m.  attack,  illness,  .fit 


action  /.  action,  act 

acechar  spy 

aceite  m.  oil 

aceituna  /.  olive 

acelerado,  -a  quick,  hurried 

acelerar  hurry 

acemila  /.  sumpter  mule 

acercarse  approach 

acerola  /.  azarole  (fruit  of  the 
hawthorn) 

acertar  succeed  in 

acoger  take  in,  shelter 

acompaflar  accompany,  attend, 
join,  go  with;  — se  have 
company;  cuanto  mas  acom- 
pafiada  the  more  company  a 
lady  has 

aconsejar  advise,  persuade 

acordar  determine;  — se  (de) 
remember 

acostarse  go  to  bed,  lie  down, 
retire 

acreditar  distinguish 

acudir  come,  appear,  attack 

aculla  there 

acusar  accuse,  denounce 

achaque  m.  pretext,  indisposi- 
tion, ailment 

adelante  on,  ahead;    de  aqui 
-  henceforth 

adelgazar  stretch  fine 

ademan  m.  gesture 

ademas  besides,  moreover,  ex- 
cessively 

adentro  inside,  in,  within 
185 


i86 


VOCABULARY 


adios  m.  good-by,   greetings 

adivino  m.  soothsayer 

admiration  /.  wonder,  admira- 
tion 

admirado,  -a  amazed,  wonder- 
ing, astonished 

admirar  excite  the  imagination, 
excite  wonder 

adonde  where 

£  adonde?  where? 

adorar  adore,  worship,  appease 

adorno  m.  decoration,  furnish- 
ing, furniture 

adrezar  =  aderezar  prepare, 
cook 

adular  flatter 

adulto,  -a  adult  (probably  a 
comic  distortion  of  adusto 
sad) 

advertencia  /.  advice,  remark 

advertir  notice,  warn,  bear  in 
mind 

afeitarse  shave,  rouge,  adorn 
oneself 

afianzar  lay  hold  of 

aficionado,  -a  fond  of 

afligirse  be  miserable,  worry, 
be  sorry 

afuera  out  of  the  house 

agasajo  m.  party,  refreshments 

agenda  /.  commission 

agilidad  /.  sprightliness,  light- 
ness, activity,  agility 

agora  now,  at  present,  just  now 

agradecer  be  grateful  for, 
thank  for 

agravarse  become  worse 

agraviar  provoke 

agravio  m.  injury,  harm,  wrong 

agresi6n/.  attack 

agua/.  water 

aguado,  -a  watered 

aguador,  -a  water  carrier 


aguar  spoil,  interrupt 

aguardar  wait,  expect,  wait 
for;  — se  stop,  halt 

agujeta  /.  iron-tipped  lace 

;  ah !  ah ! 

ahi  there;  --  van  there  are; 
de  —  hence;  por  —  there 

ahi j ado  m.  godchild 

ahogarse  stifle,  smother 

ahora  now,  just  now,  at  pres- 
ent; —  bien  all  right 

ahorcar  hang 

ahorrar  save 

aire  m.  air 

ajeno,  -a  of  another 

ajustar  settle 

ala  /.  wing 

alabar  praise,  think  much  of 

alba  /.  dawn 

albarda/.  packsaddle,  dunce 

albeitar  m.  veterinary 

albergo  m.  shelter,  inn 

alcalde  m.  mayor 

alcanzar  attain,  obtain,  get, 
achieve,  understand,  pursue, 
overtake;  — se  de  under- 
stand; tampoco  a  mi  se  me 
alcanza  I  have  no  grasp  of 
it  either 

alcoba  /.  bedroom 

aldea  /.  village 

aldegiiela  /.  village 

alegre  happy,  merry 

alegremente  gladly 

alegria  /.  joy,  pleasure 

Alejandro  Alexander 

Alemania  /.  Germany 

alentar  be  encouraged 

alevosia/.  treachery,  deceit 

algarrobilla  /.  carob 

algo  pron.  anything,  something; 
—  adv.  somewhat 

alguacil  m.  constable,  bailiff 


VOCABULARY 


i87 


alguien  someone,  anyone 
alguno,  -a  some,  someone,  any, 

anyone,     a     little,     any .  .  . 

whatsoever 
alhaja  /.  jewel 
alimentarse  feed 
aliviar  relieve 

alivio  m.  ease,  comfort,  reh'ef 
alma  /.  soul,  mind,  heart 
almizcle  m.  musk 
almohada  /.  pillow 
almorzar  breakfast  (on) 
alquilar  rent,  hire 
alquitran  m.  tar 
alto,  -a  lofty,  noble,  sublime 
alzar  raise,  lift;   —  figura  cast 

a  horoscope;   — se  con  toda 

la  casa  appropriate  the  whole 

house 
allfi  there,  yonder;    mas  —  de 

beyond 

allanarse  consent,  agree 
allegarse  come,  go 
alii  there 
ama  /.    mistress;     muesa    - 

mistress 

amado,  -a  dear,  beloved 
amante  loving 
amar    love 
amargamente  bitterly 
amargo,    -a    bitter,      painful, 

bad 

amarillo,  -a  yellow 
amartelar  court 
amasar  knead 
ambar  m.  amber;  ser  un  —  be 

excellent,  be  very  sweet 
ambos,  -as  both 
amen  m.  amen 
amenazar  threaten 
amigo,  -a  friend 
amigo,  -a  fond 
amiguito  m.  friend,  little  friend 


amistad /.    friendship;     hacer 

las  — es  make  friends 
amo    m.    master;     nueso    — 
master 

amolar  grind,  sharpen 

amor  m.  love;  — es  love 
affairs;  por  —  de  Dios  out 
of  charity 

amoroso,  -a  loving 

amotazen  m.  inspector  of 
weights  and  measures,  clerk 
of  the  market 

amparar  protect,  help 

amparo  m.  protection,  refuge 

andar  walk,  go,  go  about,  go 
on,  be,  move  along,  come,  go 
after;  — se  con  amuse  one- 
self with,  waste  time  with; 
todo  se  andara  all  will  be  well 

angel  m.  angel 

anima  /.  soul 

animal  m.  animal,  booby 

animo  m.  courage 

ansi  thus 

ansia  /.  desire,  retching,  an- 
guish, greediness,  paroxysm 

ansioso,  -a  anxious 

antes  adv.  rather,  better,  first, 
on  the  contrary,  of  first  im- 
portance; -  -  de  Prep,  be- 
fore; -  que  conj.  before, 
rather  than 

antesala  /.  anteroom 

antiguamente  formerly,  in  an- 
cient times 

antiguo,  -a  old,  ancient 

antojadizo,  ^a  capricious, 
funny,  whimsical 

antojo  m.  hallucination,  fancy 

antologia  /.  anthology 

Antonio  Anthony 

anzuelo  m.  fishhook 

anadir  add 


i88 


VOCABULARY 


anicos  m.  pi.  bits,  pieces 

aflo    m.    year;     j  malos    — s! 

plague  take  it !   the  deuce ! 

sacar  el  vientre  de  mal  — 

dine  better  than  usual 
aora  =  ahora  now 
apagarse   be   extinguished,   be 

put  out 

apanar  pick  up 
aparejado,  -a  prepared,  ready 
aparejar  prepare,  get  ready 
apartar  divert;  — se  withdraw, 

get  out  of  the  way 
aparte  aside 

apatusco  m.  embellishment 
apelmazado,  -a  soggy 
apesadumbrado,    -a    anxious, 

sad 

aplacer  please 
apodo    m.    nickname,    abusive 

name 

apoplejia/.  apoplexy 
aposento  m.  room 
apostar  bet,  wager 
aprehension  /.  fear 
aprender(se)  learn,  study 
aprendiz  m.  apprentice 
apretado,  -a  pressing,  urgent 
apretar  grasp,  hold  tight;  — se 

be    afflicted,    be    distressed; 

— se  con  sorrow  over,  shut 

oneself  up  with 
apriesa  =  aprisa    in    a    hurry, 

quickly 

aquel,  -la  adj.  that 
aquel,  -la,  aquello  pron.  that 
aquese,  -a  adj.  that 
aquese,  -a,  aqueso  pron.  that 
aqueste,  -a  adj.  this 
aqueste,  -a,  aquesto  pron.  this 
aqui  here,  now;  —  de  help  me; 

de  —  hence;    de  —  a   un 

poco  a  little  while  from  now; 


de  —  adelante  henceforth; 

por  —  in  this,  hereabouts 
aquietarse     be      allayed,      be 

quieted 

arbitrio  m.  means,  device 
arbitrista  m.  schemer 
arbol  m.  tree 
area  /.  chest 
arcaduz  m.  water  pipe 
ardid  m.  trick,  cunning;   tener 

—  be  cunning,  be  crafty 
Argos  Argus 
argu'ir  argue,  deduce 
arisco,  -a  fierce,  wild 
arma  /.   arms,   weapons;    — s 

fencing;   \  al  — !  to  arms! 
armado,    -a    armed,    set    up, 

started,  going  on 
armar  start,  arrange,  plan 
arrancar  wring,  wrest 
arrastrar  drag  along 
arremeter  attack 
arreo  successively,  uninterrupt- 
edly 

arrepentido,  -a  repentant 
arrimarse  lean  upon,  approach 
arroba  /.  four  gallons 
arte  m.,f.  art,  skill,  craft 
arteria  /.  artery 
as  m.  ace 

asar(se)  broil,  burn,  bake 
ascendente   ascendant 
asegurar  assure,  secure,  assure 

of;   — se  be  certain 
asi  so,  thus,  in  this  way,  would 

that 
asido,  -a  seizing;  — de  seizing, 

holding  on  to 
asimismo  likewise 
asir  seize 

asistir  attend  a  sick  person 
asnillo,  -a  little  ass 
asomarse  appear 


VOCABULARY 


189 


asombrarse  be  astonished, 
wonder 

asombro  m.  amazement,  won- 
der 

asunto  m.  affair,  business 

asustar  frighten 

atambor  m.  drum,  drummer 

atar  tie,  bind 

atender  listen,  pay  attention 

atento,  -a  listening,  attentive, 
mindful,  careful 

atolondrar  stupefy,  stun 

atrancar  bar,  bolt 

atreverse  dare 

atrevimiento  m.  boldness,  as- 
surance, presumption 

aturar  seal,  close 

aturdido,  -a  amazed,  dum- 
founded 

aumento  m.  increase,  enlarge- 
ment, growth 

aun  even,  still 

aunque  although,  even  if,  not- 
withstanding; —  mas  how- 
ever much 

ausencia  /.  absence 

ausente  absent 

auto  m.  auto  (a  play) 

Automedonte  m.  driver,  coach- 
man 

autoridad  /.  authority 

ave  /.  bird 

averiguar  find  out,  settle; 
— se  con  bring  to  reason, 
get  on  with 

avisar  warn,  tell,  advise,  send, 
send  word 

aviso    m.    advice;      buen    - 
pleasing  information 

avutarda  /.  wild  turkey,  bus- 
tard, veteran  prisoner 

ay  alas,  oh,  ouch;  —  de  alas  for 

ayer  yesterday,  lately 


ayuda  /.  help 
ayudar  help 
ayunar  fast 
ayunas:    en  —  fasting 
azofaifa  /.  jujube 
azumbre  /.  two  liters 

B 

bachiller  m.  bachelor 

bailar  dance 

bailarin,  -a  dancer 

baile  m.  dance  [stairs 

bajar  lower,  humble,  go  down- 

bajo,  -a  base,  low,  vile;  por  lo 

—  in  an  undertone 
balago  m.  long  straw;  pajas  de 

—  long  straws 

balcon  m.  balcony,  window 
balde :     de  —  gratis,     free    of 

cost 

Baltasar  Balthasar,  Belshazzar 
banca  /.  bench 
banquete  m.  banquet 
banar  bathe 
baraja/.  pack  of  cards,  quarrel, 

deal 

barajar  shuffle,  wrangle 
barba  m.  old  man 
barba/.  beard 

barbarismo  m.  barbarousness 
barbecho  m.  fallow  ground 
barbero  m.  barber 
barranco  m.  ravine,  deep  hole 
barro  m.  tumbler  of  clay 
basa  /.  base,  basis,  pedestal 
basilisco  m.  basilisk 
basta  enough 
bastante     enough,     sufficient; 

tolerably 
bastar  suffice,  be  enough,   be 

worth ;  i  con  estos  no  basta? 

aren't  these  enough? 


VOCABULARY 


bastardia/.  unbecoming  action, 
meanness 

bata  /.  gown 

bautizar  baptize,  christen; 
— se  be  baptized,  be  chris- 
tened 

bayo,  -a  bay  horse,  bay 

bazo  m.  spleen 

beber  drink 

bellaco,  -a  m.  f.  rogue 

bellaco,  -a  low,  vile,  shameless 

bellacon,  -a  rogue 

bellaqueria  /.  knavery 

bendicidn/.  blessing;  echar  la 
—  bless 

bendito,  -a  holy 

beneficio  m.  benefice 

Bercebu  =  Belcebu  Lucifer 

bergante  m.  rascal 

bergant6n,  -a  brazen-faced 
person,  impudent  person 

bernardina  /.  persiflage,  ab- 
surdity 

Bernardina  Bernardine 

Bernardo  Bernard 

beso  m.  kiss 

bestia  /.  beast,  animal 

biblioteca  /.  library 

bien  m.  beloved  one,  good, 
blessing;  --  haya  blessings 
upon 

bien  adv.  well,  nicely,  all  right, 
surely,   very,  indeed;    a  - 
it's  a  good  thing;    a  —  que 
conj.    since;      decir    -   •    be 
right;    esta  —  all  right 

bigote  m.  mustache 

birillante  a  coined  word.  (Cf. 
note  1.  164  "Doctor  y  el 
enfermo") 

bizcocho  m.  biscuit 

blanca  /.  blanca  (an  old  copper 
coin) 


bianco,  -a  white 

blando,    -a    gentle,    pleasing, 

good-natured,  kindly,  soft 
blanquilla  /.  doit  (a  very  small 

coin) 

boberia  /.  foolishness 
bobo  m.  fool,  buffoon,  simple- 
ton 

bobo,  -a  foolish,  stupid 
boca  /.  mouth,  lips 
bocado   m.   mouthful,   bite 
boda  /.  marriage,  wedding 
bodigo   m.    manchet    (a   small 

loaf  made  of  the  finest  flour 

and  presented  as  an  offering 

in  church) 
boga  /.  cackerel  (a  fresh  water 

fish) 

bolsa  /.  purse 
bolsillo  m.  purse,  pocket 
bollo  m.  small  loaf,  roll 
bomba  /.  bomb 
bondad  /.  goodness,  virtue 
bonito,  -a  pretty 
borracho  m.  drunkard 
borracho,  -a  intoxicated 
borrachon  m.  drunkard,  fool 
bota  /.  wine  skin 
bote  m.  flask,  box,  phial 
botella  /.  bottle 
boticario  m.  apothecary 
brasa/.  live  coal,  burning  wood 
bravamente  finely 
bravo,  -a  fine,  rough,  terrible, 

brave 

brazo  m.  arm 
breval     m.     early     fig     tree; 

higuera  —  early  fig  tree 
breve  brief,  short 
brindar  toast,  pledge     [health 
brindis  m.  toast,  drink  to  one's 
brio    m.    energy,    dash,   spirit, 

mettle 


VOCABULARY 


191 


bucaro  m.  clay  vessel 

bueno,  -a  good,  fine,  clean, 
well,  great,  irreproachable; 
I  de  d6nde  —  sois?  where 
do  you  come  from?  mas  — 
best;  ponerlos  — s  put  them 
in  order;  por  lo  —  for  a  good 
purpose;  sin  decir  —  ni  malo 
without  saying  a  word 

buey  m.  ox 

bula/.  bull,  certificate 

bulla  /.  noise;  meter  —  raise 
a  racket 

bufiuelo  m.  fritter,  doughnut 

burdo,  -a  ordinary,  coarse, 
rude 

burla/.  joke,  trick,  jest 

burlar  betray;  — se  joke,  ridi- 
cule, mock 

buscar  seek,  look  for,  find,  get, 
hunt 


cabal  exact 

caballeriza  /.  stable 

caballero  m.  gentleman,  knight, 
nobleman,  sir 

caballero,  -a  mounted,  riding 

cabello  m.  hair 

caber  be  contained 

cabeza  /.  head,  mind,  hair; 
quebrar  la  —  bother;  iQue 
— s!  what  inconsiderate  peo- 
ple! 

cabo  m.  end,  tip;   al  —  at  last 

cabriola  /.  caper;  hacer  - — s 
caper 

cachaza  /.  unconcern 

cachete  m.  punch,  cuff 

cada  adj.  every;  —  uno  pron. 
everyone 

cadaldfa  (=  cada  el  dia  = 
cada  dia)  every  day 


caer  fall,  fall  down;  — se  fall, 
drop,  fall  down;  —  en  ella, 
perceive  it;  caire  =  fut.  ist 
pers.  sing. 

cafe  m.  coffee 

Cain  Cain 

caja  /.  box  of  preserves  or  jam, 
drum 

calabaza  /.  pumpkin,  ignorant 
person 

calavera  /.  rattle-pate 

calcilla  /.  short  stocking,  sock 

caldo  m.  broth 

calentura  /.  fever 

calidad  /.  nature 

calor  m.  heat,  warmth 

calzada/.  road,  path 

calzado  m.  pair  of  shoes 

calzas  /.  pi.  trousers 

calzones  m.  pi.  trousers 

callar  be  silent,  keep  silent, 
hush,  hush  up,  hold  one's 
tongue,  keep  still;  calla  why 

calle  /.  street 

cama  /.  bed ;  hacer  la  —  make 
the  bed  ready 

camarada  m.  friend 

caminar  walk,  go,  go  on; 
camine  delante  go  on,  go 
ahead;  jcaminen!  be  off! 

camino  m.  way,  road;  de  — 
on  the  way,  incidentally 

camino  =  camino 

campanilla  /.  little  bell 

campo  m.  field,  country 

cana  /.  gray  hair 

canasta  /.  hamper,  basket 

candelero  m.  candlestick 

canino,  -a  canine;  hambre 
— a  inordinate  hunger 

cansar  tire,  bore 

cantar  sing,  crow 

cantaro  m.  pitcher 


IQ2 


VOCABULARY 


cantidad  /.  amount  sum,  quan- 
tity, number 

cafla  /.  rod;    pescador  de  - 
angler 

capa  /.  cape,  cloak 

capeador  m.  bullfighter,  stealer 
of  capes 

capon  m.  capon 

capricho  m.  caprice,  whim, 
fancy 

cara  /.  face,  countenance,  look, 
feature;   —  de  hereje  hide- 
ous or  repulsive  aspect;    -- 
de     Pascua     smiling     face; 
mala  —  doleful  look 

carbon  m.  coal,  charcoal 

carbonera/.  coal  bin 

carcajada  /.  laugh 

carcanar  m.  heel 

cdrcel  /.  prison 

cardar  card  wool 

carecer  (de)  need,  lack,  be 
without 

carga  /.  load 

cargar  load,  burden 

cargo  m.  burden,  charge;  ha- 
cerse  —  take  charge 

carguilla  /.  little  load 

caridad/.  charity,  alms;  hacer 
—  give  alms 

Carlo  Magno  Charlemagne 

carne  /.  flesh,  meat 

carnero  m.  sheep,  ram 

caro,  -a  dear,  expensive,  high- 
priced 

carro  m.  carriage 

carta/.  card,  letter 

casa  /.  house,  household, 
family,  home,  shop,  square 
in  a  game  of  chess;  a  — 
home;  en  —  at  home 

casar  marry;  — se  get  married 

cascar  beat,  pound,  flay 


casi  almost 

caso  m.  case,  affair,  occurrence, 
point;  en  todo  -  -  at  all 
events;  estar  en  el  —  under- 
stand; no  es  del  —  is  not 
to  the  point 

casta  /.  variety,  kin,  family 

castellano,  -a  Castilian,  Span- 
ish 

castigapecados  m.  pi.  whips 

Castilla  /.  Castile 

Castillo  m.  castle 

catalogo  m.  catalogue 

Cataluna  /.  Catalonia 

catar  consider,  look  at 

Catilina  Catiline 

catorce  fourteen 

causa  /.  cause,  reason,  motive, 
consideration,  matter 

causar  cause 

cazar  hunt  • 

celebrar  celebrate 

celemin  m.  peck  (4T6ff  liters) 

celos  m.  pi.  jealousy 

celoso,  -a  jealous 

cena  /.  supper 

cenar  have  supper,  sup;  — 
maravillas  fare  sumptu- 
ously; dar  algo  que  —  give 
something  for  supper 

cenar  m.  supper 

cencerro  m.  bell 

ceniza  /.  ashes 

cenir  gird 

cepo  m.  block  of  wood  forming 
a  support,  support,  stocks, 
impediment 

cerbatana  /.  whistle,  culverin, 
pea-shooter 

cerca  adv.  near;  --  de  prep. 
near 

cercar  wall,  surround 

cerebro  m.  brain 


VOCABULARY 


193 


ceremonia  /.  ceremony 

cerindongo  m.  a  kind  of  bird 

cernadero  w.  coarse  linen  cloth 

cero  m.  zero,  cipher 

cerrar  seal,  close,  fasten,  lock 

cesar  cease,  stop 

Cesar  Caesar 

cesta/.  basket 

ciego,  -a  blind 

cielo  m.  sky,  heaven,  weather 

ciencia  science,  art,  knowledge 

ciento,  cien  hundred 

cierto    adv.    certainly,    indeed; 

por  —  certainly,  indeed,  be- 
yond doubt 
cierto,  -a  certain,  sure,   true, 

assured 
cinco  five 
cincuenta  fifty 
cinta  /.  ribbon,  sash,  waist  of  a 

dress;  poner  en  —  tuck  up 
cirujano  m.  surgeon 
civilidad  /.  urbanity,  hackneyed 

expression 
claro,  -a  transparent,   bright, 

obvious,  evident,  clear,  plain 
cobardia  /.  cowardice 
cobijar      cover,      overspread, 

shelter 
cobrar    recover,    receive,    get, 

collect,  collect  damages  for 
cobro  m.  safe  place 
cocina/.  kitchen 
coco  m.  bugbear,  grimace 
coche  m.  carriage 
cochero  m.  coachman 
cochino  m.  pig 
cochura  /.  boiling 
codicioso,  -a  greedy,  avaricious 
cofre  m.  trunk,  stand 
coger  seize,  take,  pick  up,  pick, 

gather;  —  la  rauta  clear  out 
col  /.  cabbage 


colacitin  /.    repast,    "spread" 
colar  bleach  or  wash  clothes; 

canasta  de  —  clothes  basket 
coleccion  /.  collection 
c61era  /.  yellow  bile,  anger 
colerico,  -a  choleric,  passionate 
colgar  hang 

colodrillo  m.  back  of  the  head 
coloquio  m.  colloquy 
color  m.,  f.  color 
coluna  =  columna  /.    column, 

pillar 
collar     m.     collar,     necklace; 

puntas  y  —  earmarks 
comedero,  -a  edible 
comedia  /.  play 
comedido,     -a     civil,     polite, 

obliging 

comenzar  commence,   begin 
comer  eat,  dine;  —  de  live  off 

of;   — se  eat 
comer  m.  dinner 
cometerse  be  committed 
comida  /.  food,  dinner,  meal, 

banquet 

comigo  =  conmigo  with  me 
comilfin,  -a  glutton 
comision  /.  charge,  matter 
como  like,  as,  as  if,  if,  provided 

that;    —  que  as  if,  indeed; 

a  —  how  much;   tan  . . .  — 

as  ...  as;    tanto  —  as  much 

as,  all  that 
i  c6mo?  how  ?  why  ?    i  a  —  ? 

how  much? 

compadre  m.  godfather,  friend 
companero  m .  companion,  friend, 

colleague 

compafiia  /.  company 
componer  compose,  write;  — se 

be  composed 

composici6n  /.  composition 
comprar  buy 


194 


VOCABULARY 


comun  common,  general;  des- 
afiar  de  —  challenge  gen- 
erally 

con  prep,  with,  in,  of,  by,  on, 
about,  to,  for,  in  the  name 
of;  —  que  wherefore;  —  que 
conj.  so,  provided  that,  if 

concepto  m.  idea,  thought 

concertarse  agree 

conciencia  /.  conscience 

concurrencia  /.  concurrence, 
conjunction 

conde  m.  count 

condenar  condemn 

condition  /.  condition,  habit, 
disposition,  state;  con  — 
que  on  condition  that 

condumio  m.  feast 

conejo,  -a  rabbit 

confesar  confess,  admit;  — se 
confess,  make  confession, 
acknowledge  oneself 

confesi6n  /.  confession 

confesor  m.  confessor 

confiado,  -a  confident;  de  — 
confidently 

confianza  /.  confidence,  inti- 
macy, trust,  assurance;  de 
—  on  intimate  terms 

confirmado,  -a  confirmed,  firm, 
stanch 

confirmar  strengthen 

confiteria  /.  confectioner's  shop 

confusion/,  confusion,  disorder 

congelar  congeal,  coagulate 

conjeturar  guess,  conjecture 

conjugarse  be  conjugated 

conjuraci6n  /.  conspiracy 

conjurador  m.  conjurer 

conjurar  conjure,  summon 

conjuro  m.  conjuration 

conmigo  with  me 

conocer    recognize,    know,    be 


acquainted  with;  — se  be 
known;  se  conoce  is  easy 
to  comprehend 

conocido,  -a  well-known 

conque  in  short,  so,  well  then, 
now 

conquistador  m.  conqueror 

consciencia  /.  conscience 

consejo  m.  advice,  decision, 
council,  tribunal 

consentir  consent 

considerar  consider 

consistir  consist,  lie 

consolar  console,  comfort 

consonancia  /.  rhyme 

Constantinopla  /.  Constanti- 
nople 

constrefiir  bind,  force,  oppress 

consuelo  m.  joy;    por  mas  — 
to  my  greatest  joy 

contar  enumerate,  mention, 
tell,  count;  cuenta  con  gri- 
tar  be  careful  about  shouting 
out 

contentar  satisfy,  fill,  please; 
— se  be  contented 

contento  m.  pleasure,  fun, 
happiness 

contento,  -a  contented,  satis- 
fied, glad,  happy 

contescer  happen 

contra  against 

contrario,  -a  contrary;  a  la 
contraria  on  the  contrary 

conversaci6n  /.  conversation, 
talk,  companionship 

convertir  convert,  change;  — 
en  change  to 

convidado,  -a  guest 

convidar  invite 

copiado,  -a  imitated 

coplita  /.  little  stanza 

corazon     m.    heart,    courage, 


VOCABULARY 


195 


middle;  buen  —  quebranta 
mala  ventura  fortune  favors 
the  brave 

corcova  /.  hump 

corcovado,  -a  humpbacked 

corchete  m.  policeman 

C6rdoba  /.  Cordova 

corporal  corporal 

corpulento,  -a  fat 

correo  m.  mail,  message,  errand 

correonazo  m.  strapping 

correr  run,  hurry,  run  away; 
—  mundo  travel  much 

correspondencia     /.      return, 
friendship 

corresponder  return,  requite 

correspondiente  suitable 

corrido,  -a  sheepish,  ashamed, 
angry 

corro  m.  corro  (a  dance),  circle 

cortar  cut 

corte  /.  court,  capital 

cortes  polite,  civil 

cortesia  /.  courtesy,  politeness, 
bow 

corteza  /.  rind,  peel,  skin 

corto,  -a  short 

corvo  m.  crow 

cosa  /.   thing,   matter,   affair, 
something,     anything; 
clara   obvious,   evident;    — 
ninguna    nothing,    not   any- 
thing;    cara    -  -    expensive, 
high;  cualque  —  somewhat; 
ello  seran  tus  — s  probably 
your  usual  tricks;    otra  - 
something     else,     anything 
else 

coser  sew,  join 

cosilla  /.  little  thing,  trifle 

costa/.  cost,  expense;  a  —  de 
at  the  expense  of 

costado  m.  side,  back 


costal  m.  sack 

costar  cost 

costura/.  seam 

coyuntura  /.  occasion 

coz  /.  kick,  prancing 

craro,  -a  =  claro,  -a 

creer  believe,  think,  believe  in 

criada  /.  maid,  servant 

criado  m.  servant 

criado,  -a  well-bred 

criar  rear,  bring  up 

criatura/.  creature,  baby 

criollo,  -a  creole 

cristiano,  -a  Christian 

Cristo  Christ 

Cristobal  Christopher,  Punch 

critico,  -a  critical 

crdnica  /.  chronicle 

cruel  cruel,  intolerable 

cruz  /.  cross 

cuadrado  m.  square;  en  — 
in  square,  in  quadrille 

cuadrado,  -a  square 

cual  adj.,  pron.  which,  who;  el 
—  which,  who;  tal  para  — 
one  as  good  as  another 

icull?  pron.  what?  which? 

jcual!  inter j.  how  then,  what, 
in  what  state 

cual  adv.  like 

cualque  any,  some;  —  cosa 
somewhat 

cualquiera  some 

cuando  when,  if 

cuanto,  -a  all  that,  all  that 
which,  as  much  as,  how  long, 
how  much;  —  mas  all  the 
more,  moreover;  -  mas 
. . .  mas  the  longer  .  . .  the 
longer;  -  mas  . . .  mejor 
the  more  the  better;  en  — 
as  to;  todo  —  all  that 

i  cuanto?.  -a  pron.  how  much, 


196 


VOCABULARY 


how    many;     tanto ...    • 
how  much 

cuarenta  forty 

cuartillito  m.  little  pint 

cuartillo  m.  pint 

cuarto  m.  copper  coin  (worth 
4  maravedis  or  |  of  a  real), 
fourth  part 

cuatro  four,  a  few 

cuatrocientos,  -as  four  hun- 
dred 

cubierta  /.  cover,  covering 

cubrir  cover;  — se  put  on 
one's  hat 

cuchara/.  spoon 

cucharada/.  spoonful 

cuchillada  /.  slash 

cuchillo  m.  knife 

cuenta/.  account,  count;  estar 
en  la  —  understand  the  case; 
tener  —  take  care;  tener  — 
a  keep  count  of;    hacer  - 
suppose;   hacer  la  —  reckon 

cuento  m.  tale,  story;  como 
digo  de  mi  —  as  my  story 
goes;  hacer  —  take  account 

cuera  /.  leather  jacket 

cuerda/.  string 

cuerdo,  -a  sensible,  sane 

cuerno  m.  horn 

cuero  m.  skin,  hide 

cuerpo  m.  body;  en  —  in  his 
shirt  sleeves 

cuervo  m.  crow 

cuesta:  a  — s  on  one's  back, 
upon  one 

cueva  /.  cave 

cuidado  m.  care,  anxiety, 
charge;  | — !  look  out!  - 
con  mind,  be  careful  of; 
al  descuido  y  con  —  studi- 
ously careless;  tener  —  con 
take  care  of 


cuidadoso,  -a  vigilant 
cuidar  look  after 
culpa  /.  fault,  blame 
culto,  -a  correct,  elegant 
cumplido,  -a  polite,  good 
cumplir  expire,  keep;    --  con 

fulfil 

cunada  /.  sister-in-law 
curia  do  m.  brother-in-law 
cuorvo  m.  crow  (old  Spanish) 
cura  m.  curate 

cura/.  cure,  remedy,  treatment 
curar  treat,  recover,  care  for, 

keep,  cure;  — se  be  treated, 

be    cured;     — se    de    mind, 

bother  about 
curiosidad  /.  curiosity 
cuyo,  -a  whose 

Ch 

chancero,  -a  merry 
chanza  /.  joke 
chica  /.  little  girl 
chico  m.  little  boy 
chico,  -a  little,  small 
chinche/.  bedbug 
chiquito,  -a  little,  small 
chis  sh,  hush 
chocolate  m.  chocolate 
chupar  suck 


daca  give  here 

dadiva  /.  gift 

dado  m.  die 

daga/.  dagger 

dagua  =  de  agua 

daif  a  /.  mistress,  servant 

dama  /.  lady 

danza  /.   dance,  dancing;    — 

de  monos  Punch  and  Judy 

outfit 


VOCABULARY 


IQ7 


danzar  dance 

dano  m.  damage,  trouble,  harm 

danoso,  -a  harmful 

dar  give,  hand,  hit,  strike, 
beat,  come  upon,  make,  set, 
afford,  sell,  cause,  adopt, 
catch,  bestow;  —  a  fall 
into;  —  algo  que  cenar  give 
something  for  supper;  — 
con  slam,  strike,  knock;  - 
con  los  ochos  y  nueves  make 
a  scene;  -  -  en  persist  in, 
fall  into,  strike;  —  fin  a 
end;  —  orden  en  attend  to; 

—  sana    cure;     —    perro 
muerto    disappoint    or    de- 
ceive   a    person;     —    vaya 
jeer;     i  que    te    ha    dado? 
what  has  happened  to  you? 
— se  be   given,   take   place; 
— se  a  entender  make  one- 
self understood;    no  se  me 
da  nada  it  gives  me  no  con- 
cern 

dares  m.  pi.  givings,  alterca- 
tions 

de  of,  for,  in,  than,  about,  to, 
from,  by,  with,  as,  on,  at, 
on  account  of,  against,  upon; 

—  ...    a   between  .  .  .  and; 
dar  —  comer  feed;   diez  — 
a  ocho  ten  pieces  of  eight 

debajo  de  under,  underneath 
deber  must,  can,  ought;  —  de 

be  probably  so,  must 
debilitado,  -a  weak 
decanoria  /.  decan,  decanate 
decender  descend,  go  down 
decir  say,  speak,   call,   mean, 
tell,    show;    deci  imperative 
2  pl.;   —  bien  be  right;   - 
entre    si    say    to    oneself; 
— se    say,    be    said;     como 


digo   de  mi  cuento  as   my 

story  goes;  querer  —  mean; 
sin  —  bueno  ni  malo  without 
saying  a  word 

declarado,  -a  clear;  senas 
— as  clearly  indicated 

declinacion  /.  decline,  declina- 
tion, declension 

declinarse  be  declined 

decoro  m.  honor,  respect,  dig- 
nity 

dedo  m.  finger 

defender  defend,  protect 

def ension  /.  defense 

defuera :  por  —  on  the  outside 

degollar  decapitate,  kill,  ruin 

dejar  leave,  let  alone,  let,  per- 
mit, relinquish,  give  up, 
have;  —  de  fail  to,  help; 
— se  allow  oneself 

del  =  de  el 

delante  adv.  in  front,  ahead, 
before;  —  de  prep,  in  front 
of,  before;  por  —  de  in  front 
of 

deleite  m.  pleasure,  delight 

deleitoso,  -a  delightful 

delgado,  -a  thin 

dellas  =  de  ellas 

Dello  me  pesa  I  regret  it  (a 
dance) 

dellos  =  de  ellos 

demas  rest,  other       [excessive 

demasiado  too  much,  enough, 

demonico  m.  little  devil 

demonio  m.  devil,  demon 

dentellada  /.  bite 

dentro  adv.  within,  inside,  in, 
off  stage;  —  de  prep,  within 

Deo  (Latin)  to  God 

deposito  m.  safe-keeping 

deprisa  in  a  hurry 

derramar  spill 


198 


VOCABULARY 


desabrido,  -a  insipid,  peevish 

desafiar  challenge;  de 

comun  challenge  generally 

desagradar  displease 

desairar  slight,  rebuff 

desaire  m.  slight,  rebuff,  dis- 
respect 

desatar  let  loose,  untie 

desatino  m.  folly,  craziness, 
foolishness,  nonsense,  hallu- 
cination 

desazonado,  -a  spoiled,  out  of 
sorts,  indisposed 

desbaratarse  be  broken  up 

descansar  rest,  recover;  — se 
rest 

descanso  m.  repose,  comfort, 
peace 

descargar  discharge 

descartar  put  aside,  discard 

descender  descend,  go  down 

desconocimiento  m.  ingrati- 
tude, lack  of  recognition 

descortes  rude,  impolite 

descoserse  rip,  go  to  the  bad, 
get  out 

descoyuntar  disjoint 

descubrir  expose,  uncover,  re- 
veal 

descuido  m.  carelessness;  al 
—  y  con  cuidado  studiously 
careless 

desde  prep,  from,  since;  — 
que  conj.  since 

desdel  =  desde  el 

desden  m.  disdain,  scorn,  con- 
tempt 

desdichado,  -a  unfortunate, 
unhappy 

dese,  desa  =  de  ese,  etc. 

desear  desire,  wish,  wish  for 

desencajado,  -a  distorted,  dis- 
located 


desencajarse  be  dislocated 

desenganar  disillusion 

desenvainar  unsheathe 

deseo  m.  desire,  longing 

desesperado,  -a  desperate,  in 
despair 

desfilarse  march  off 

desgracia  /.  fatality,  calamity, 
affliction,  misfortune,  sor- 
row, unhappiness,  ailment 

desgraciado,  -a  unfortunate, 
miserable,  wretched 

deshacer  break,  ruin,  rub  off, 
disperse 

desmayarse  swoon 

desmayo  m.  swoon 

desnudarse  undress  oneself 

desnudo,  -a  empty-handed, 
destitute,  unsheathed,  drawn 

desocupar  quit,  leave 

despacho  m.  business,  alac- 
rity 

despedir  dismiss,  send  away; 
— se  take  leave 

despertar  wake  up,  awaken 

desplegar  open 

despojar  despoil 

desposado,  -a  betrothed,  mar- 
ried 

desposarse  get  married 

despues  adv.  afterward,  then; 
—  de  prep,  after 

deste  -a,  -o,  =  de  este,  etc. 

desvalido,  -a  helpless,  unpro- 
tected 

desvan  m.  garret 

desvario  m.  raving;  hacer  — 
rave 

desvelo  m.  anxiety,  longing 

desvergonzado,  -a  impudent, 
shameless 

desvergiienza  /.  impudence, 
shamelessness 


VOCABULARY 


199 


detener   stop,   restrain;    — se 

be  detained 

determinar  determine,  decide 
detras  adv.  behind,  after;  —  de 

prep,  behind,  in  back  of 
dia  m.  day;  medio  —  noon 
diablo  m.  devil 
diabro  =  diablo 
dial ec to  m.  dialect 
diamante  m.  diamond 
diccionario  m.  dictionary 
dicha  /.  happiness,  luck;    — s 

riches;   a  —  by  chance 
dicho  m.  saying 
clichoso,  -a  happy,  fortunate, 

blessed 

diente  m.,f.  tooth;   untar  una 
—  take  the  edge  off  of  one's 

appetite 
diez  ten 

diferencia/.  difference 
difunto,  -a  dead 
digno,  -a  worthy 
dilatado,  -a  large,  big 
dilatar  postpone,  defer 
diligencia  /.    business,    affair> 

errand,  diligence 
dimes  m.  pi.   altercations;    - 

y      diretes     quibbles      and 

quirks 
dinero  m.  money,  a  copper  coin 

(worth  \  maravedi) 
Dios  m.  God;   aqui  de  —  help 

me,  O  God;  por  —  for  God's 

sake 
diretes      m.  pi.      altercations; 

dimes    y    -  -    quibbles    and 

quirks 

discrete,  -a  intelligent,  clever 
disculpar  excuse,  justify 
discurso  m.  discourse,  talk 
disfrazar  disguise 
disignio  m.  =  designio  purpose 


disimulo  m.  hiding,  conceal- 
ment 

dislate  m.  absurdity 

disparate  m.  absurdity,  blun- 
der, nonsense,  hallucination 

disponer  arrange,  command, 
direct,  dispose,  take  charge; 
— se  be  ready,  be  willing,  be 
resolved,  get  ready 

disposition  /.  disposition,  tend- 
ency, arrangement,  will, 
supply 

dispuesto,  -a  disposed;  mal 
—  indisposed,  sick 

disputar  dispute,  argue 

dividirse  divide,  separate,  cut 

divorcio  m.  divorce 

do  where 

doblado,  -a  double 

doblar  toll,  double 

doce  twelve;  echarlo  a  —  pre- 
tend to  be  angry;  las  — • 
twelve  o'clock 

docientos,  -as  two  hundred; 
modern  doscientos 

doctor  m.  doctor 

doler  pain 

doliente  m.  patient 

doliente  suffering 

dolor  m.  pain,  grief,  sorrow 

don  m.  Don,  sir,  Mr. 

doncella/.  maiden,  girl,  servant 

donde  where;  a  -  -  where, 
whither;  de  —  from  which, 
whereof;  por  —  over  which, 
through  which 

id6nde?  where?  ide — ? 
whence?  where? 

dong6n  m.  crane 

donna  /.  dona 

dona  /.  dona,  lady,  mistress, 
Mrs. 

dormido,  -a  sleeping,  asleep 


2OO 


VOCABULARY 


dormir  sleep;  — se  go  to  sleep 

dos  two,  double;  -  veces 
twice;  a  -  -  manos  with 
both  hands,  readily,  two- 
handed;  los  —  both 

dote  m.  f.  dowry 

drecho,  -a  =  derecho,  -a  just, 
right;  hecho  y  --  perfect, 
really  and  truly 

drecho  =  derecho  m.  right; 
a  fuerza  de  —  rightly 

ducado  m.  ducat 

ducientos,  -as  =  doscientos, 
-as  two  hundred 

duda  /.  doubt 

dudar  doubt 

duelo  m.  sorrow,  grief,  trouble 

dueno  m.  master,  owner 

duque  m.  duke 

durar  last,  hold  out,  live 

duro,  -a  hard,  harsh,  rigorous 


E 

ea  well 

eco  m.  echo 

echar  throw,  throw  out,  drive 
away,  apply,  put,  lay,  pour 
on ;  —  a  begin  to ;  —  a  perder 
ruin;  —  de  ver  see,  notice;  — 
el  habla  get  in  a  word;  —  el 
resto  stake  all;  —  la  bendi- 
ci6n  bless;  -  lo  a  doce 
pretend  to  be  angry; 
ventosas  cup;  — se  drink, 
throw  oneself;  — se  a  perder 
spoil,  make  a  mess  of 

efe  /.  letter  F 

Egypto  m.  Egypt 

ejecucion    /.    execution,    per- 
formance 

ejemplar  exemplary 

ejemplillo  m.  little  example 


ejemplo  m.  example 

el,  la,  lo,  los,  las  art.  the; 
pron.  the  one,  that;  —  que 
dem.  and  rel.  pron.  he  who, 
the  one  who,  that  which 

el  pron.  he,  him,  you 

elecci6n/.  election 

elegancia  /.  elegance 

elemento  m.  element,  humor 

ella  she,  her,  it 

ellas  they,  them 

ello  it,  that 

ellos  they,  them,  you 

embaidor,  -a  impostor 

embajada  /.  mission,  message 

embanastar  put  away 

embarazar  hinder 

embargo :    sin  —  nevertheless 

embocar  put  in  one's  mouth, 
swallow 

eminente  prominent,  eminent 

empanada  /.  meat  pie 

empenar  pawn 

emperador  m.  emperor 

empezar  begin,  start 

empleo  m.  position 

en  in,  into,  with,  on,  upon,  at, 
over,  of,  inside  of,  to,  after, 
when,  by 

enamorado,  -a  in  love 

enamorarse  fall  in  love 

encajar  fit,  suit  ' 

encantar  enchant 

encaramarse  climb 

encararse  confront,  face,  aim 

encargar  charge,  urge,  urge 
upon;  — se  be  urged,  be 
recommended 

encarnado,  -a  scarlet,  red 

encender  light 

encerramiento  m.  locking  up 

encerrar  lock  up,  shut  up,  in- 
close 


VOCABULARY 


2OI 


encima  upon 

encogido,  -a  humble,  bashful 

encogimiento  w.  humility,  sub- 
mission, bashfulness 

encontrar  meet,  find 

encubrirse  be  concealed 

endimonado,  -a  devilish;  mod- 
ern endemoniado 

enemigo  m.  enemy 

enfadar  vex,  make  angry; 
— se  be  angry,  get  angry 

enfado  m.  vexation,  anger, 
annoyance,  trouble;  haber 
con  — s  get  angry 

enfadoso,  -a  angry,  bother- 
some 

enfennar  get  sick,  make  sick 

enfermedad/.  malady,  illness 

enfennito,  -a  sickly 

enfermo,  -a  sick 

enfrente  opposite 

enganar  deceive;  — se  be  de- 
ceived, be  mistaken 

engano  m.  deception,  trick, 
illusion,  hallucination 

enhorabuena:  sea  —  very 
good 

enhoramala  /.  scorn 

enhornar  put  into  the  oven  to 
bake 

enjambre  m.  swarm  of  bees 

enjugar  wipe,  dry 

enmudecer  impose  silence 
upon,  hush 

enojado,  -a  angry,  displeased, 
offended 

enredo  m.  trick 

enrubiar  dye,  rouge 

ensalada/.  salad 

ensayo  m.  attempt 

ensenanza  /.  lesson 

ensefiar  show,  teach,  instruct; 
— se  be  taught,  be  shown 


ensillar  saddle 

entablar  prepare,  arrange,  be- 
gin 

entendedor,  -a  one  who  under- 
stands, listener 

entender  understand,  hear, 
know,  be  employed  about, 
take  charge  of,  notice;  dar 
a  —  admit;  — se  be  under- 
stood, be  heard 

entendimiento  m.  understand- 
ing, intellect,  mind,  sense, 
intelligence 

entero,  -a  entire,  whole,  perfect 

enterrar  bury 

entonces  then 

entrada  /.  entrance,  favor, 
friendship 

entrambos,  -as  both 

entranas  /.  pi.  heart 

entrar  enter,  come  in,  go  in, 
go  out,  exit,  intervene;  en- 
tra  imper.  2d  pers.  pi.; — a 
begin  to,  start  to;  me  entra 
a  ml  en  provecho  I  profit  by 
it;  — se  enter,  go  in,  come 
in,  exit 

entre  between,  among 

entregar  give,  hand  over,  sur- 
render 

entremes  m.  farce 

entremesista  m.  writer  of  farces 

entretanto  adv.  meanwhile;  — 
que  conj.  while 

entretener  delay 

entumecer  swell 

envainar  sheathe 

enviar  send 

envidar  stake 

enxiemplo  m.  story 

epitafio  m.  epitaph 

equivocarse  make  a  mistake 

errar  mistake,  miss 


202 


VOCABULARY 


escalera  /.  stair 

escandaloso,  -a  scandalous, 
disgraceful 

escarbar  scratch 

escarnio  m.  ridicule 

escarraman  m.  escarraman  (a 
dance) 

escarramanesco,  -a  escarra- 
manesque 

escena  /.  scene 

esclava  /.  slave 

escobar  sweep 

escoger  choose 

esconder  hide 

escribano  m.  notary  public 

escribir  write 

escritorio  m.  desk 

escritura  /.  writing,  Scripture, 
deed,   contract;    ser  de  - 
be  a  matter  of  contract 

escrupuloso  -a  scrupulous, 
particular 

escuadron  m.  squadron 

escuchar  hear,  listen,  listen 
to 

escudo  m.  escudo  (a  coin  of 
gold  or  silver),  shield 

escupir  spit  upon,  show  con- 
tempt for 

escusado,  -a  superfluous,  un- 
necessary 

escusar  excuse,  avoid 

ese,  -a  adj.  that 

ese,  -a,  eso  pron.  that 

esforzar  exert 

esotro  =  ese  otro 

espacio:  de  —  slow,  slowly, 
at  one's  ease 

espada  /.  sword,  ace  of  spades 
or  any  card  in  the  suit  of 
spades 

espantar  frighten;  — se  be 
surprised 


espanto  m.  fear,  wonder,  fright, 
surprise 

espantoso,  -a  frightful,  horri- 
ble, frightening 

espaflol,  -a  Spanish 

espejo  m.  mirror 

esperanza  /.  hope,  chance 

esperar  wait,  wait  for,  await, 
expect,  stop;  — se  stop 

espicinio  m.  probably  a  comic 
distortion  of  espinazo  back- 
bone 

espiche  m.  dart 

esposa  /.  wife 

esquisito,  -a  exquisite 

esquitarse  take  revenge 

esquivo,  -a  severe 

establecer  enact,  establish,  de- 
cree 

estaca/.  nail,  hook 

estadow. state, condition,  stage 

estar  be;  est6  =  estoy  pres. 
ind.  ist  pers.  sing. ;  —  con 
live  with;  —  en  understand, 
be  in  favor  of;  —  para  be 
about  to,  be  fit  for;  —  por 
be  inclined  to;  •  — se  be, 
stand,  stay,  remain 

estatua  /.  statue 

estatura/.  stature 

este,  -a,  -as,  -os  adj.  this 

este,  -a,  esto,  -as,  -os  pron. 
this,  this  one,  the  latter; 
con  esto  herewith;  en  esto 
at  this  time 

estera  /.  mat 

estilo  m.  style 

estimar  esteem;  — se  respect 
each  other 

estomago  m.  stomach 

estopa/.  tow 

estorbar  hinder,  annoy,  be  in 
the  way,  prevent 


VOCABULARY 


203 


estotro,  -a  =  este  otro  this 
other  (one) 

estraflo,  -a  strange 

estremeflo,   -a   Extremaduran 

estrenarse  begin,  initiate,  use 
for  the  first  time 

estudiante  m.  student 

estudiantino,  -a  of  a  student 

estudiar  study 

estudio  m.  study,  college,  uni- 
versity. 

eterno,  -a  eternal 

exception  /.  exception 

exceso  m.  excess,  absurdity 

exclamation  /.  outcry 

excusar  shun,  dispense  with, 
avoid 

exemplo  m.  story,  example 

experiencia  /.  experience,  trial 

expirar  expire 

exquisito,  -a  exquisite 

extender(se)  be  extended,  in- 
crease, be  spread 

extorsion/.  extortion;  hacer  — 
plunder,  strip 

extranar  wonder  at 

extrafio,  -a  strange,  queer, 
wonderful 

extraordinario,  -a  extraordi- 
nary 

extremado,  -a  extreme,  excel- 
lent 

extreme  m.  extreme,  violent 
action;  con  grandes  — s 
very  ostentatiously;  en  — 
extremely;  en  todo  —  ex- 
tremely 


fabrica  /.  structure,  fabric 
fabula  /.  fable 
faction  /.  feature 


fachenda  m.  busybody 

fadrina  /.  servant,  maid 

f  alda  /.  skirt 

falso,  -a  false,  treacherous, 
insincere 

falta/.  lack,  want,  fault,  short- 
coming, absence;  hacer  — 
need,  lack,  be  in  want 

f  altar  be  lacking,  be  the  matter, 
die,  need,  break,  give  way, 
be  in  want  of,  be  consumed 

faltriquera  /.  pocket 

fallar  trump,  win  a  trick 

fama  /.  fame,  reputation 

famoso,  -a  wonderful,  famous, 
superb,  splendid 

f arsa  /.  farce 

fatiga  /.  fatigue 

favorecer  favor 

favorite  m.  favorite;  special 
suit  in  cards,  which,  when 
trumps,  is  played  with 
double  stakes 

favorite,  -a  favorite 

fe/.  faith,  honor;  a  —  in  truth 

feo,  -a  ugly 

feroz  fierce,  cruel 

fiambre  m.  cold  meat 

fiambre  long-standing,  cold 

fiambrera  /.  a  small  basket  full 
of  cold  meat 

fianza  /.  guarantee,  security 

fiar  trust;  —  de  trust  in 

fiero,  -a  fierce,  terrible,  sharp 

fiesta  /.  party,  festival,  cele- 
bration, fun;  vaya  de  —  go 
and  be  merry 

figura  /.  figure,  face,  form, 
shape,  character,  actor;  al- 
zar  —  cast  a  horoscope 

filimoquia  /.  servant 

filosofia  /.  philosophy 

fin  m.  end,  object,  purpose;  al 


204 


VOCABULARY 


—  at  last,  finally,  after  all; 
dar  —  a  end;  en  —  finally, 
in  short,  after  all 

finalmente  finally 

fineza  /.  purity,  beauty,  kind- 
ness, polite  attention 

fingido,  -a  feigned,  false,  ficti- 
tious, make-believe 

fingir  pretend,  feign,  sham 

firmeza  /.  stability,  constancy 

fisga  /.  jeer 

fisgar  mock 

fisonomia  /.  physiognomy,  fea- 
tures, aspect 

flaco,  -a  lean 

flaqueza  /.  emaciation,  feeble- 
ness, faintness,  weakness 

flato  m.  flatulency,  wind 

flauto  m.  flute 

flema  /.  phlegm,  mucus 

flematico,  -a  phlegmatic 

flemoso,  -a  mucous,  phleg- 
matic 

flor/.  flower,  trick;  pascua  de 
— es  Easter,  Resurrection 

forma  /.  form,  shape 

format  form,  compose;  — se 
be  formed,  be  made 

fortaleza  /.  fortitude,  valor 

fortuna  /.  fortune,  good  luck 

forzar  force,  compel 

forzoso,  -a  necessary,  violent, 
grave 

fosada  /.  grave 

Francia  /.  France 

Francisca  Frances 

Francisco,  -a  Franciscan 

franco,  -a  sincere 

franqueza  /.  generosity 

Frazca   Fanny 

fregona  /.  kitchen  wench 

freir  fry 

fresco,  -a  fresh,  recent,  prompt 


frio,  -a  cold 

fritada  /.  dish  of  fried  meat  or 
fish 

frito  m.  dish  of  fried  meat  or 
fish 

fruncido,  -a  frowning,  cross 

fruta  /.  fruit 

fuego  m.  fire;  j—  1  plague 
take !  j  —  en !  plague  take ! 

fuente  /.  dish,  platter 

fuera  outside,  out;  —  de  be- 
yond, apart,  from,  outside  of, 
disinclined  to 

;  fuera!  inter  j.  out,  out  with,  off 
with 

fuero  m.  privilege,  statute,  law 

fuerte  vigorous,  mighty,  terri- 
ble, grave,  strong,  powerful 

fuerza  /.  necessity,  force, 
strength,  violence,  resist- 
ance; —  es  must,  is  neces- 
sary; a  —  de  by  dint  of; 
a  —  de  drecho  rightly 

fundar  found,  raise,  form 

funesto,  -a  dismal,  sinister, 
fatal 

furioso,  -a  furious,  mad 


gaitero  m.  bagpipe  player 
galan  gallant,  actor  of  a  lover's 

part 
galano,    -a   lively,    splendidly 

dressed 

galas  /.  pi.  dress,  show 
Galeno  Galen 
galera  /.  galley 
gallego,  -a  Galician 
gallina  /.  hen,  chicken 
gallo  m.  cock,  rooster;  otro  — 

les  cantase  that  would  be  a 

different  story 


VOCABULARY 


205 


gana  /.  willingness,  desire, 
appetite;  de  buena  —  will- 
ingly, gladly 

ganapan  m.  porter 

ganar  win,  earn,  obtain,  con- 
quer, beat,  get;  —  por  la 
mano  anticipate,  get  the 
better  of;  — se  be  earned 

ganso  m.  goose,  country  bump- 
kin 

garatusa  /.  caress,  trick  in 
fencing 

garraf a  /.  carafe 

garrafilla  /.  little  carafe 

garrote  m.  club 

garzon  m.  sweetheart,  youth 

gaspirria  /.  servant 

gastar  spend,  squander,  waste, 
have,  wear,  digest,  serve; 
— se  be  spent,  eat 

gata  /.  tabby;  a  — s  on  all  fours 

gatito,  -a  kitten 

gato  m.  cat;  llevar  el  —  al 
agua  undertake  a  bad  job 

gavilan  m.  sparrow  hawk 

general  general 

genero  m.  kind 

gente  /.  people 

gentil  fine,  nice,  elegant,  pretty 

gentilhombre  m.  fine  fellow, 
my  good  man 

gesto  m.  face,  grimace,  gesture; 
hacer  un  —  make  a  face 

Gil  Gil,  Giles 

gineta  /.:  a  la  —  with  short 
stirrups 

gloria  /.  delight,  pleasure 

glosa  /.  a  verse  ending  in  a 
fixed  refrain 

gobernador  m.  governor 

gobierno  m.  management,  di- 
rection 

golpe  m.  blow,  stroke,  knock 


gordo,  -a  fat,  great 

gorra  /.  cap,  sponge,  parasite; 

vivir  de  —  live  at  another's 

expense 
gorro  m.  cap 

gorr6n  m.  sponge,  parasite 
gota  /.  drop 
gozo  m.  joy 
gracia/.  charm,  beauty,  courte- 

ousness,  grace,  joke,  witticism; 

— s  thanks;    j  que  — !  how 

funny ! 

gracioso  m.  clown 
gracioso,  -a  droll,  funny 
graduado  m.  graduate 
graduar  graduate 
gramatica  /.  grammar 
gramatico  m.  grammarian 
granada/.  pomegranate 
Gran  Bret  ana  /.  Great  Britain 
grande  great,  grand,  grandee, 

terrible,  fine,  large,  tall 
grandeza/.  greatness,  grandee- 
ship 

grandisimo,  -a  very  great 
grander  m.  size,  magnitude 
grave  serious 
gritar  call  out,  shout,  exclaim, 

talk  loud 
grito   m.   cry,    shout,    scream; 

a  — s  loudly 
grulla  /.  crane 
gualdrapa  /.  housing 
guante  .w.  glove 
guapo,  -a  pretty,  gay 
guarda  /.  guard 
guardar  keep,  preserve,  guard, 

take  care  of,  put  away 
guerra/.  war 
giiela  -  huela 
gu'eso  =  hueso 
guesped  =  huesped 
giievo  =  huevo 


206 


VOCABULARY 


guia  m.,  f.  guide,  driver 

guisarse  be  cooked,  cook 

guitarra  /.  guitar 

gurguz  m.  (probably  gorguz) 
dart,  darting  pain 

gustar  please,  like,  want;  — 
de  like 

gusto  m.  pleasure,  taste,  love 

gustoso,  -a  dainty,  tasty,  con- 
tented, happy 

H 

Jha  I  inter j.  ha! 

Habana/.  Havana  tobacco 

haber  have;  habemos,  pres. 
ind.  ist  pers.;  huvo  past  abso- 
lute ^d  sing,  impers.;  hay 
there  is,  there  are,  etc.; 
—  de  must,  can,  be  to,  be 
going  to;  —  que  must; 
bien  haya  blessings  upon; 
mal  haya  plague  take; 
ha  it  is,  since,  ago;  — se  act 

habilidad  /.  cleverness,  skill, 
cunning,  art;  tener  —  be 
clever 

habito  m.  dress,  clothes 

habla  /.  speech,  voice;  echar 
el  —  get  in  a  word;  perder 
el  —  be  speechless,  lose  one's 
voice;  sin  —  speechless 

hablador,  -a  talker 

habladuria  /.  impertinent  talk 

hablar(se)  talk,  speak,  say; 
-  de  vicio  be  an  habitual 
chatterer;  habra  pres.  ind. 
3d  pers.  sing. 

hacer  do,  do  with,  make,  act, 
perform,  practice,  commit, 
have,  get,  get  a  thing  done, 
play,  give,  cause,  beget,  pre- 
tend; hace  imper.  2d  pi.; 
impers.  it  is,  etc.;  —  de  las 


suyas  be  up  to  one's  tricks; 

—  fait  a  need,  lack;  —  ore- 

jas  de  mercader  pretend  not 

to  hear;   —  santos  perform 

good  works;    — se  be  made, 

do,  do  with  oneself,  become, 

be  done,  have,  take,  pretend, 

become  of;   hecho  una  sopa 

dagua  wet  as  sop 
hacia  toward 
hacienda   /.    estate,    fortune, 

wealth 

hacha  /.  torch 
halda/.  skirt 
hallado,  -a  found;  bien  — 

welcome 

hallar  find,  meet;  — se  be 
hambre  hungry 
hambre  /.  hunger;    —  canina 

inordinate  hunger;  tener  — 

be  hungry 

hambriento,  -a  hungry 
hanega/.  bushel  (55^  liters) 
hartar  stuff 
harto,  -a  satiated,  full,  enough, 

too  much 
harto     enough,     very     much, 

quite,  too  much 
hasta  prep,  until,  up  to,  as  far 

as,  about;  —  que  conj.  until 
hasta  adv.  even 
hebra  /.  thread 
hecho  m.  deed,  doing 
hecho,  -a  perfect,  like,  turned 

into;    -  -  y  drecho  perfect, 

really  and  truly 
heder  (a)  smell  of 
helado,  -a  cold,  iced 
heredad  /.  arable  field,  farm 
heredar  inherit 
heredero,  —  a  heir 
hereje  m.  heretic;   cara  de  — 

hideous  or  repulsive  aspect 


VOCABULARY 


207 


herida  /.  wound 

herir  wound 

hermana  /.  sister 

hermano  m.  brother 

hermoso,  -a  beautiful,  fair 

hermosura  /.  beauty 

herrero  m.  blacksmith 

hespanol  =  espanol 

hete  see,  behold 

hidalgo  m.  nobleman 

higado  m.  liver,  heart 

nig u era  /.  fig  tree;  --  breval 
early  fig  tree 

hija/.  daughter,  child,  girl 

hijo  m.  son,  child;  — s  children 

hilo  m.  thread,  yarn 

hipocondria  /.  hypochondria 

historia  /.  history,  tale,  story 

hocico  m.  snout,  nose 

hogaza  /.  large  loaf  of  bread 

jhola!  hello! 

hole  m.  hole  (an  Andalusian 
dance  and  dance  song) 

holgar  rejoice,  be  glad;  — se 
rejoice,  be  glad,  amuse  one- 
self 

hombre  m.  man;  ombre  (a 
game  of  cards);  --de  bien 
honest  man,  good  man;  j — 
de  Dios  !  man  alive !  hacerse 
de  —  play  single-handed 

hombro  m.  shoulder 

homicida  m.,f.  murderer 

honestidad  /.  modesty 

honesto,  -a  modest,  respect- 
able, handsome,  honest 

honor  m.  honor 

honor  em  (Latin) :  ad  —  honor- 
ary 

honra/.  honor,  respect;  me  he 
visto  en  —  I  have  seen  better 
days 

honrado,  -a  respectable,  honor- 


able,    praiseworthy,     exact, 

honest 

honrar  honor 
hora  /.  hour,  time;   a  aquestas 

— s  by  this  time;  en  buen  — 

well  and  good,  in  the  name 

of  heaven;  en  —  buena  well 

and  good,  blessed  be 
horca/.  gallows 
horchata   /.    horchata      (drink 

made  of  melon   or  pumpkin 

seeds   or   almonds) 
hornero,  -a  baker 
hor6scopo  m.  horoscope 
hoy  to-day,  now 
hoyo  m.  grave 
huerte  =  fuerte 
huerto     m.     kitchen     garden, 

orchard 
huesa/.  grave 
hueso  m.  bone 
huesped  m.  guest 
huespeda  /.  hostess 
huevo  m.  egg 
huir  flee,  escape;    ando  huido 

I  am  a  fugitive  from  justice 
hum  an  o,  -a  human 
humilde  humble 
humo   m.  smoke;    ida  del  — 

vanish  like  smoke 
humor  m.  humor,  disposition, 

mood 

hundirse    sink,    fall,    be    sub- 
merged, be  battered  down 
hurtar  steal,  rob;    j  que  lindo 

—  !  what  fine  stealing!  —  a 

steal  from 
hurto  m.  theft,  robbery 


ida  /.  departure;   —  del  humo 
vanish  like  smoke 


208 


VOCABULARY 


iglesia  /.  church 

ignorancia  •/.  ignorance,  stu- 
pidity 

ignorante  ignorant,  stupid;  es 
de  — s  one  of  the  ignorant 

ignorar  not  to  know,  be  igno- 
rant of 

igual  equal,  similar,  like;  — 
conmigo  like  me 

igualarse  equal 

imaginacion  /.  imagination, 
fancy 

imaginar  imagine,  fancy,  sup- 
pose, think,  believe,  con- 
sider, bear  in  mind;  --en 
think  of 

imitacidn  /.  imitation 

impertinente  impertinent 

importancia  /.  importance 

importante  important 

importar  (impers.)  matter,  con- 
cern, be  important 

importune,  -a  troublesome,  ex- 
asperating, disturbing 

imposible  impossible 

imprimir  print 

imprudente  indiscreet 

impulse  m.  impulse  (probably  a 
comic  distortion  of  pulso  pulse) 

inaudito,  -a  unheard  of,  ex- 
traordinary 

incitar  incite 

inclemencia  /.  inclemency, 
severity 

inclinarse  be  inclined,  be  favor- 
ably disposed,  bow 

incomodar  put  out,  inconveni- 
ence 

Indiano,  -a  a  person  from  the 
West  Indies  or  Spanish 
America 

Indias/.  pi.  West  Indies,  Span- 
ish America 


indicio  m.  indication 

Indio,  -a  American,  simpleton 

indispuesto,  -a  indisposed,  sick 

inedito,  -a  inedited 

infame    infamous,    despicable, 

vile 

infamia  /.  infamy 
inferirse  infer,  conclude,  guess 
infierno  m.  hell;    — s  hell,  in- 
fernal regions 
informar  inform 
informe  shapeless,  formless 
infuso,  -a  inspired 
ingenio  m.  temperament,  mind 
ingenioso,  -a  ingenious 
ingrato,  -a  ungrateful 
inocente  innocent 
inquietar  disturb,  trouble 
inquisici6n  /.  .inquisition 
instancia  /.  instance,  impulse 
instante  m.  instant,  moment; 

al  —  immediately 
instrumento     m.     instrument, 

agent 

interes  m.  interest 
interesado,  -a  interested,  con- 
cerned 

inter  in  while,  until 
interlocutor,  -a  interlocutor 
introducirse  be  introduced 
inventar  invent;    — se  be  in- 
vented 

ir  go,  be,  come,  fare,  keep;  van 
pres.  ind.  3d  pers.  pi.;  —  a 
be  going  to,  be  about  to;  - 
a  menos  diminish;  —  a  peor 
get  worse;  ahf  van  there  are; 
I  c6mo  le  va?  how  are  you? 
vamos  come  now,  well; 
vaya  come  now,  indeed,  here 
goes,  take;  vaya  si  hay  I 
should  say  there  is;  — se  go, 
go  away,  go  off,  slip  away; 


VOCABULARY 


209 


id  vos  conmigo  listen  to  me; 

vase,  vanse  exit,  exeunt 
ira/.  anger,  wrath,  violence 
Italia  /.  Italy 
itinerario    m.    itinerary,    fixed 

course 
izquierdo,  -a  left 


jacara  /:  jdcara  (a  song  and 
dance) 

jalapa  /.  jalap  (a  medicinal 
plant) 

jamas  never 

jamon  m.  ham 

Japdn  m.  Japan 

jarro  m.  jug 

jaula/.  cage;  pieza  de  las  — s 
aviary 

Jesus  Jesus 

jigote  m.  hash 

jocoserio,  -a  jocoserious,  serio- 
comic 

Jornada/,  journey,  occasion 

joya  /.  jewel 

Juana  /.  Jane,  Joan 

juego  m.  play,  gambling,  game, 
feast,  card  playing 

jueves  m.  Thursday;  —  santo 
Maundy  Thursday 

juez  m.  judge 

jugada  /.  play 

jugar  play;  —  a  play;  —  de 
mano  be  busy  with  one's 
hands 

juicio  m.  sense,  common  sense, 
reason,  mind,  judgment;  me 
lleva  sin  —  you  drive  me 
crazy;  sin  —  without  one's 
senses 

Julio   Julius 

j  urn  en  to  m.  ass 


junto,  -a  joined,  together 
junto  adv.  near;  —  a  prep,  near 
Jupiter  Jupiter 
jurador,     -a     swearing,     who 

swears 
jurar  swear 

justamente  exactly,  just 
justicia  m.  constable 
justicia  /.  justice,  authorities 
justo,  -a  just,  right 
juzgar  judge,  think 


la  art.  f.  the;  dent.  pron.  the 
one,  that;  —  que  that  which, 
what;  pers.  pron.  dat.  ace. 
it,  her,  pi.  them 

labio  m.  lip 

labor  /.  work;  manos  a  —  to 
work 

labrador,  -a  peasant 

lacayo  m.  lackey 

lado  m.  side 

ladrar  bark 

ladron  m.  thief 

ladronazo  m.  master  thief 

ULgrima/.  tear 

lamer  lick 

lana  /.  wool 

lance  m.  occurrence,  oppor- 
tunity, accident,  event,  criti- 
cal time,  predicament;  .de 
—  for  the  emergency 

lanceta  /.  lancet 

largo,  -a  long,  large,  tiresome, 
boresome;  pi.  many 

las  art.  f.  pi.  the;  —  que  dent, 
and  rel.  pron.  those  who,  the 
ones  who,  the  ones  which 

lastima  /.  pity 

latin  m.  Latin 

latino,  -a  Latin 


210 


VOCABULARY 


lavandera  /.  washerwoman 

lavarse  wash 

lazo  in.  bond 

le  pron.,  dat.,  ace.  it,  you,  him, 

her 

lealtad  /.  loyalty 
leche  /.  milk 
lecho  m.  bed 
lechuga  /.  lettuce 
legua  /.  league 
leido,  -a  well-read 
lejos  far,  afar 
lelo,  -a  crazy 
lengua   /.    tongue,    language, 

speech 
lenguaje  m.  language,  manner 

of  speaking 
lefia/.  wood,  firewood 
leones,  -a  Leonese 
les  pron.,  dat.,  ace.  them 
letra  /.  letter,  inscription;  — s 

letters,  learning 
letrado  m.  lawyer 
levantar  lift,  raise,  set  up;  — se 

get  up,  stand  up,  rise 
ley  /.  law,  religion 
libertad/.  liberty,  freedom 
libra  /.  pound 
librar  preserve,  escape 
libre  innocent,  free,  at  liberty, 

loose 

libro  m.  book 
licencia  /.  permission 
lidiar  fight 
liebre/.  hare 
lienzo  m.  handkerchief 
limosna  /.  alms,  charity 
limosnero,  -a  charitable 
limpiar  clean,  wipe 
limpio,  -a  clean,  pure 
limpisimo,  -a  most  cleanly 
linaje  m.  kin,  family 
lindamente  prettily,  nicely 


Undo,  -a  pretty,  wonderful, 
lovely,  fine,  perfect 

lirico,  -a  lyric 

liron  m.  dormouse 

literario,  -a  literary 

liviandad/.  frivolity,  folly 

liviano,  -a  frivolous 

lo  art.  neut.  the;  —  que  dem. 
and  rel.  pron.  what,  that 
which,  that;  a  —  que  creo 
as  I  believe 

lo  pers.  pron.  it,  him 

loa  /.  prologue  of  a  play 

lobo  m.  wolf 

loco  m.  madman,  fool 

loco,  -a  foolish,  mad,  crazy, 
silly 

lomo  m.  loin 

los  art.  m.  pi.  the;  •  -  que 
dem.  and  rel.  pron.  those 
who,  the  ones  who,  the  ones 
which 

los  pers.  pron.  them 

luego  then,  soon,  at  once,  im- 
mediately; --  que  as  soon 
as 

lugar  m.  place,  village,  time; 
en  —  de  instead  of 

lumbre  /.  light,  fire 

lunar  m.  mole,  patch 

luz  /.  light,  candle 

LI 

llaga  /.  wound,  sorrow 

llama/,  flame 

llamar  call,  summon,  knock; 
— se  be  named,  be  called 

llaneza/.  plainness,  unassuming 
mode  of  life;  con  —  plainly 

llano,  -a  flat,  plain,  intelligi- 
ble, evident 

llave  /.  key 


VOCABULARY 


211 


llavecita  /.  little  key 
llegar     approach,     get     near, 
come,  get  to,  last,  bring;  — 
a  come  up  to,  equal,  come  to, 
approach,    happen   to;  — se 
approach,    get    near,   come; 
— se  a  come  up. to,    equal; 
lleguis  pres.  subj.  2d  pers.  pL 
lleno,  -a  full,  filled,  covered 
llevar  take,  take  off,  take  away, 
keep,     bear,     yield,     carry, 
have,    raise,   endure,   exact; 
-  advertido  take  warning, 
take  notice;    me  lleva  per- 
dido    you    drive    me   crazy; 
me  lleva  sin  juicio  you  drive 
me  crazy;    — se  take  away, 
carry  off,  remove 
llorar  cry,  cry  about,  weep 
lloroso,  -a  tearful,  sorrowful 

M 

macilento,  -a  emaciated 

madama  /.  madam,  lady,  Judy 

madejilla  /.  small  skein 

madrasta/.  stepmother 

madre  /.  mother 

madrugar  rise  early 

maese  m.  master 

magno,  -a  great 

magro,  -a  lean 

Mahoma  Mohammed 

maja  /.  low  woman  of  Madrid 

majadero  m.  gawk,  old  bore, 
fool 

majo  gay,  coarse,  low 

mal  m.  malady,  illness,  harm, 
evil,  misfortune,  wrong,  sor- 
row, pain;  —  haya  cursed 
be;  del  —  lo  menos  the  least 
of  a  bad  thing 

mal  badly,  hardly,  poorly,  ill 


mala/,  deuce  of  spades,  manille 

maldad  /.  wickedness,  mischief, 
trick 

maldito,  -a  cursed,  wretched, 
damned,  wicked 

malicia  /.  malice,  mischievous- 
ness 

malilla/.  manille,  malilla 

malillita/.  malilla 

malmirado,  -a  discourteous, 
inconsiderate 

malo,  -a  bad,  poor,  evil, 
wretched,  wicked,  terrible, 
sick,  dull;  j  — s  aflos !  plague 
take  it !  the  deuce !  sin  decir 
bueno  ni  —  without  saying 
a  word 

|  malo !  inter  j.  bad !  so  much  the 
worse ! 

maltratar  mistreat,  abuse 

mamar  suck 

mancar  lack,  fail 

mancebo  m.  young  man,  boy 

mancilla  /.  spot,  blemish,  dis- 
grace 

manco,  -a  defective,  imperfect 

manchar  stain 

mandadero  messenger 

mandado  m.  errand 

mandar  command,  order,  en- 
join, ordain,  want,  offer, 
promise,  send 

manera  /.  way,  kind,  manner, 
figure,  style;  de  —  que  in 
such  a  way  that,  so  that; 
desa  —  in  that  case 

manga  /.  sleeve,  purse 

mania  /.  mania,  madness 

manifestar  give  evidence 

man  jar  m.  *food;  -  bianco 
breast  of  fowl  mixed  with 
sugar,  milk,  and  rice  flour 

mano  /.  hand,  paw,  claw,  first 


212 


VOCABULARY 


player  at  cards;  — s  a  labor 
to  work;  a  dos  — s  with  two 
hands,  readily,  two-handed; 
a  las  — s  according  to  our 
heart's  desire;  de  las  — s 
hand  in  hand;  Dios  me 
tenga  de  su  —  may  God 
restrain  me;  jugar  de  —  be 
busy  with  one's  hands 

manolo,  -a  common  person  of 
Madrid 

manso,  -a  tame,  quiet 

manteca  /.  butter;  la  boca  se 
me  hace  una  —  it  makes  my 
mouth  water 

mantel  m.  tablecloth 

mantenerse  be  maintained,  be 
fed 

manto  m.  cloak,  veil 

manual  m.  manual 

mafia  /.    cleverness,    cunning, 
evil  habit;    darse  mejor  - 
manage  better 

mafiana  /.  morning 

manana  to-morrow 

maravedi  m.  maravedi  (a  coin 
worth  about  -fa  of  a  real) 

maravilla  /.  wonder,  miracle; 
cenar  -^s  fare  sumptuously 

marco  m.  frame,  case 

marchar(se)  go,  go  away 

marfrodio  m.  a  kind  of  bird 

Marfa  Mary 

maridaje  m.  union,  connection 

marido  m.  husband 

Marruecos  m.  Morocco 

martillada  /.  stroke  of  a 
hammer 

Martin  Martin 

martirizar  make  at  martyr  of, 
torture 

mas  but 

mas  more,  most,  rather,  any 


more,  besides;    --  de  more 

than;     —   que    more    than, 

rather  than;    lo  —  de  the 

greater    part    of,    most    of; 

no  —  nothing  more;    por  — 

que  however  much 
masara/.  servant 
matapecado  m.  stuffed  whip 
matar     kill,     appease;      — se 

commit  suicide 

materia  /.  matter,  point,  pus 
matrimonio     m.     matrimony, 

marriage,  married  couple 
maula  /.  cunning,  imposition, 

trick 
mayor    greater,    larger,    more 

important,    greatest 
maza/.  pole  or  block  tied  to  an 

animal 

me  pron.,  dat.,  ace.  me,  myself 
medico  m.  doctor 
medida  /.  measure 
medio      m.      half,      measure, 

middle,    midst;     yo    pondre 

los  — s   I   will  provide  the 

means 
medio,  -a  half;    poner  tierra 

por  —  set  off 
mediodia  m.  noon 
medir  measure 
medrar  thrive,  get  along 
mejor  better,  best 
melancolia/.  melancholy,  black 

bile,  jaundice 

melancolico,  -a  melancholy 
melon  m.  melon,  cantaloupe 
memoria  /.  memory,  mind 
mendicante  mendicant 
menester  m.  need;    haber  — 

need;   ser  —  be  necessary 
mengua  /.  disgrace,  discredit 
menguado  m.  imbecile 
menguado,  -a  foolish 


VOCABULARY 


213 


menos  adj.  less,  least,  lower; 
a  lo  —  at  least 

menos  adv.  less,  least;  —  de 
less  than;  —  que  less  than; 
ir  a  —  diminish;  por  lo  — 
at  least 

menosprecio  m.  contempt 

mensajero  m.  messenger 

mentecato  m.  blockhead,  fool 

mentecato,  -a  foolish,  silly, 
stupid 

mentir  lie 

mentira/.  lie 

mentiroso,  -a  deceptive 

menudo  adv.:  a  —  often 

mercader  m.  merchant;  hacer 
orejas  de  —  pretend  not  to 
hear 

merce  /.  grace;  vuesa  —  = 
usted  your  honor,  your  wor- 
ship 

merced  /.  grace,  favor;  vuesa 
—  =  usted  your  honor,  your 
worship 

Mercurio  Mercury 

merecer  merit,  deserve 

merendar  take  luncheon,  eat 

merienda  /.  luncheon 

mes  m.  month 

mesa  /.  table 

mesmo,  -a  same 

mesura  /.  moderation 

mesurado,  -a  careful,  modest, 
serious 

meter  put,  put  in,  make,  bring 
in,  introduce,  plunge,  eat; 
—  bulla  raise  a  racket;  lo  — 
a  voces  make  up  for  it  with 
shouting;  — se  get  in,  med- 
dle, interfere,  become,  come 

metodo  m.  method  (probably  a 
comic  distortion  of  medula 
marrow) 


metrico,  -a  metrical 

mezquino  m.  miser,  pauper 

mezquino,  -a  miserly,  wretched 

mi  adj.  my 

mi  pron.  me,  myself 

miedo  m.  fear;  dar  —  frighten; 
poner  —  a  frighten;  tener  — 
be  afraid 

miel  /.  honey 

mientras  while 

mil  thousand 

milagro  m.  miracle 

milagroso,  -a  marvelous,  ad- 
mirable 

milla/.  mile 

mina  /.  mine 

mio  my,  mine,  of  me,  of  mine 

mirar  see,  look,  look  out,  take 
care,  look  at,  watch,  heed, 
note,  search,  take  notice, 
consider,  mind;  mira  imper. 
sd  pers.  pi. 

misa  /.  mass 

miserable  m.  miser 

mismo,  -a  self,  same,  own,  very 

misterio  m.  mystery,  mysteri- 
ous thing;  — s  secret  wor- 
ship of  a  false  divinity;  el 
de  los  — s  frequenter  of 
witches'  sabbaths 

mitad  /'.  half 

mochacha  /.  girl,  child 

moda/.  fashion,  style;  a  la  — 
according  to  fashion 

moderno,  -a  modern 

modo  m.  manner,  way,  style, 
sort,  kind;  dese  modo  in 
that  case,  according  to  that; 
de  —  que  so  that;  ten  buen 
—  mind  your  p's  and  q's 

mohina  /.  ill-humor 

mohino,  -a  peevish,  sulky,  sad, 
mournful 


214 


VOCABULARY 


mojado,  -a  wet 

mojicdn  m.  blow,  slap,  drub- 
bing 

mojiganga  /.  morris  dance 

moler  grind,  cause  to  grind 

molino  m.  mill 

momento  m.  moment,  instant; 
al  —  in  a  moment,  at  once 

mona  /.  monkey,  mimic 

monacillo  m.  acolyte 

mondar  hull 

Mondonedo  m.  Mondonedo 
(in  Galicia) 

moneda/.  money 

moneria  /.  grimace 

monja  /.  nun 

mono  m.  puppet,  doll;  danza 
de  —  Punch  and  Judy  outfit 

montanes,  -a  mountaineer,  in- 
habitant of  the  mountains 

monte  m.  mountain,  forest, 
wooded  hill 

montera  /.  cap 

morada  /.  abode 

morder  bite 

morfrodio  m.  a  kind  of  food 

morillo,  -a  little  Moor 

morir  die;  — se  die,  be  dying 

moro,  -a  Moor 

mortaja  /.  shroud 

mortal  deadly,  fatal,  mortal 

mortificado,  -a  embarrassed, 
annoyed 

mos  =  nos 

moscorra  /.  servant 

mostrar  show,  point  to,  indi- 
cate 

motejar  nickname,  call 

mover  move,  stir,  excite,  impel; 
—  las  plantas  bestir  oneself, 
walk;  — se  move,  stir 

moza  /.  girl 

mozo  m.  boy 


mozo,  -a  young 

muchacha  /.  girl 

muchacho  m.  boy 

muchacho,  -a  boyish,  girlish 

muchisimo,  -a  very  much,  very 
great 

mucho,  -a  much,  great;  pi. 
many 

mucho  adv.  much,  greatly,  ex- 
cessively, very 

mu danza  /.,  change,  dance 
figure 

mudar(se)  change 

mudo,  -a  dumb 

muerte  /.  death;  estar  a  la  — 
be  at  death's  door 

muertecino,  -a  dead 

muerto  m.  dead  person,  corpse 

muerto,  -a  dead,  killed,  worn 
out 

mues'o  =  nueso  =  nuestro 

muestra  /.  sample 

mujer  /.  wife;  j  —  de  Dios! 
woman  alive! 

mula  /.  mule 

muladar  m.  dungheap,  any- 
thing dirty 

mundillo  m.  little  world 

mundo  m.  world,  earth;  correr 
mucho  —  travel  much;  en 
todo  el  —  everywhere;  todo 
el  —  everybody,  everything 

musculo  m.  muscle 

musico,  -a  musician 

muy  very,  rather,  very  much 

N 

nacer    be    born,    spring   from, 

arise 
nada     adv.     nothing,     by     no 

means,  not,  not  at  all 


VOCABULARY 


215 


nada  pron.  nothing,  anything 

nadie  no  one,  any  one 

nariz  /.  nose,  nostril;  ponerse 
en  las  nances  put  it  into 
one's  head 

natural  m.  native 

naturaleza  /.  nature,  tempera- 
ment 

navaja  /.  knife,  razor 

navidad  /.  Christmas 

necedad  /.  foolishness,  folly, 
stupidity 

necesidad  /.  need,  necessity, 
case  of  necessity 

negar  deny,  refuse 

negocio  m.  affair 

negro,  -a  black,  wretched,  un- 
lucky 

ni  neither,  nor,  not  even,  not,  or 

nieto  m.  grandson 

ninguno,  -a  adj.,  pron.  none, 
not  any,  any  one,  no  one,  no 

nifia  /.  child,  girl 

nino  m.  child,  boy;  — s  chil- 
dren 

no  not,  no,  nay;  de  —  no;  que 
—  no;  si  —  not,  except,  un- 
less, otherwise 

noble  noble,  eminent,  worthy, 
honorable 

noche  /..  night,  evening;  bue- 
nas  — s  good  night 

nogal  m.  walnut  tree 

nombrado,  -a  famous,  re- 
nowned, notorious 

nombrar  name,  appoint 

nombre  m.  name,  word,  noun; 
mal  —  nickname 

non  no,  not 

noramala :  id  or  andad  —  be- 
gone, go  to  the  deuce 

noramaza  in  an  evil  hour;   - 
sea  in  the  name  of  mischief 


nos  pron.,  dat.,  ace.  us 

nosotros,  -as  we,  us 

noticia/.  news 

notorio,  -a  notorious 

novedad  /.  news,  something 
new,  novelty,  accident,  ca- 
lamity 

novela  /.  story 

novia  /.  bride,  betrothed 

novio  m.  bridegroom 

nube/.  cloud;  poner  sobre  las 
— s  praise  sky-high 

nuesamo  -  nuestro  amo  mas- 
ter 

nueso,  -a  =  nuestro,  -a 

nuestro,  -a  our 

nueve  nine;  dar  con  los  ochos 
y  — s  make  a  scene 

nuevo,  -a  new,  fresh,  novel, 
inexperienced,  modern;  de 
—  anew,  recently;  £  que 
hay  de  — ?  what  is  the  news? 
what  is  up? 

nuez  /.  walnut 

numero  m.  number 


nunca  never 


O 


o  interj.  oh 

o  (Galician)  art.  the 

o  conj.  either,  or;  o  . .  .  o  either 
...  or 

obligation  /.  obligation,  duty. 

obligar  force,  compel,  oblige 

obra  /.  work,  deed,  job;  — 
prima  new  work;  buena  — 
kindness,  charity;  hacer 
mala  —  harm,  disturb, 
annoy;  poner  por  —  set  to 
work 

obrar  work 

obscuro,  -a  dark;    a  — as  in 
the  dark 


2l6 


VOCABULARY 


obstante :  no  —  notwithstand- 
ing 

ocasion    /.     occasion,     cause, 
time,  opportunity 

ocioso,  -a  unused,  superfluous 

oculto,   -a   concealed,    hidden, 
secret 

ocupacion  /.  business 

ocuparse  be  busy,  be  occupied 

ochavado,  -a  octagonal 

ochavo  m.  a  small  brass  coin, 
anything  octagonal 

ocho  eight;   dar  con  los  — s  y 
nueves  make  a  scene 

ochocientos,  -as  eight  hundred 

oficina  /.  office,  workshop 

oficio  m.  trade,  work,  service, 
job,  profession,  business 

ofrecerse  occur,  present  itself 

oh  oh 

oido  m.  ear,  hearing 

oil    hear,     listen,     listen     to; 
oiga(n)  listen,  see  here 

oislo  see  here 

oislo  m.  wife 

ojala  would  that 

ojo  m.  eye 

ola  hello 

olear  administer  extreme  unc- 
tion 

oler  smell,  get  wind  of;    —  a 
smell  of,  get  wind  of 

olivar  m.  olive  grove 

olvidar  forget 

olla  /.    olla    (boiled   meat   and 
vegetables) 

once  eleven 

ora  now;  —  bien  well,  all  right 

orden    m.,  f.    order,    arrange- 
ment of  chords  in  a  musical 
instrument,   string;    dar  - 
en  attend  to 

ordenar  order,  ordain 


ordinario,  -a  ordinary 

oreja  /.    ear;     hacer   — s    de 

mercader    pretend    not    to 

hear 

organista  m.,  f.  organist 
origen  m.  origin 
original  original 
oro  m.  gold,  money 
os  pron.,  dat.,  ace.  you,  yourself 
otero  m.  hill 
otorgar  consent,  give,  execute, 

convey 
otro,  -a  adj.  pron.  other,  other 

one,   another,   another   one, 

besides;    -  -   dia   next   day; 

— s   t  ant  os   as   many   more; 

unos    a    — s    one    another, 

each  other 
oveja  /.  ewe 
ovillo  m.  ball 


pacer  feed,   pasture,  graze 
paciencia  /.  patience 
pacienta  /.  afflicted  one 
padre  m.  father 
padrino  m.  godfather,  sponsor 
pagar  pay,  pay  for,  reward 
paja  /.  straw;  — s  de  balago 

long  straws 
pajar  m.  straw  loft 
paje  m.  page,  boy 
palabra  /.  word,  promise,  talk 
palacio  m.  palace 
palanca  /.  pole 
palmada  /.  slap 
palo  m.  stick,  blow,  drubbing; 

dar  de  — s  give  a  beating 
palpitar  palpitate,  beat,  quiver 
pan  m.  wheat,  bread,  loaf,  food; 

—  perdido  "  bad  penny  " 
panarra  m.  simpleton,  dolt 


VOCABULARY 


217 


panderete  m.  trick 
panecillo  m.  roll 
Pantasilea  Penthesilea 
pantorilla  /.  calf  of  leg,  leg 
paflo  m.  cloth;  — s  clothes 
panuelo  m.  handkerchief 
papel  m.  paper 
par  m.  peer,  couple,  pair 
para  prep,  for,  to,  in  order  to, 
on  the  point  of,  fit  for;    — 
que  conj.  so  that,  in  order 
that;  i —  que?  why,  for  what 
purpose?  estar  —  be  about 
to,    in    a   state  to;  no  hay 

—  que  there  is  no  reason 
parar  stop,  end;    —  en  end 

with,  come  to;  venir  a  — 
end 

pardiez  by  Jove 

pardo,  -a  gray,  brown 

pareado,  -a  in  couplets 

parecer  appear,  seem,  resem- 
ble; i  que  le  parece?  what 
do  you  think?  — se  appear, 
seem,  be  seen;  — se  a  re- 
semble 

perecido,  -a  like,  resembling 

pared  /.  wall 

pareja  /.  mate 

parescer  =  parecer:  parescia 
intperf.  ind.  jd  pers.  sing. 

pariente  m.  relative 

parificar  exemplify 

parroquia/.  parish 

parte  /.  part,  party  (adversary 
at  law),  share,  side,  place; 
a  otra  —  elsewhere;  a  todas 
— s  in  every  direction;  de 
unos  dias  a  esta  —  within 
the  last  few  days;  en  otra 

—  elsewhere;    en  todas  — s 
everywhere 

partera/.  midwife 


particular  particular,  special, 
private 

partida/.  departure 

partir  go,  divide,  share,  depart; 
— se  go  off 

parto  m.  birth,  parturition, 
product 

parva  /.  unthreshed  corn 

pasa  /.  raisin 

pasar  pass,  go,  carry,  conduct, 
happen;  pasa  imper.  2d  pers. 
pi.;  -  de  pass  beyond, 
exceed;  —  mis  alia  de 
pass  beyond,  surpass,  exceed; 
— se  pass,  go 

pasatiempo  m.  amusement 

pascua  /.  church  festival, 
Christmas,  Easter;  cara  de 
—  smiling  face 

pasearse  walk  about 

pasmarse  be  amazed 

paso  m.  step,  farce,  incident, 
critical  situation,  crisis 

paso  softly,  gently;  al  —  in- 
stantly, on  the  way;  mas 
que  de  —  in  a  hurry 

pastilla/.  cake 

pata/.  paw,  foot 

patarata  /.  idle  story,  nonsense, 
affectation 

patrana  /.  nonsense,  imagina- 
tion 

pausa  /.  stop 

pava  /.  turkey  hen;  pelar  la  — 
flirt 

paz/.  peace;  tener  —  en  make 
peace  with 

pecado  m.  sin 

pecador,  -a  sinful,  wicked, 
wretched;  J  —  de  ml!  sinner 
that  I  am! 

pecar  sin 

pece  m.  fish 


218 


VOCABULARY 


pecho  m.  breast,  heart,  bosom 
pedazo  m.  piece,  bit;  hacer  — s 

break 

pedir  ask,  ask  for,  beg 
pegajoso,  -a  sticky,  clammy 
pegar  beat,  strike,  slap,  get  the 

better  of 

pelado,  -a  penniless,  insignifi- 
cant 
pelar  pluck,  fleece,  skin;  —  la 

pava  flirt 
peleona  /.  quarrel 
peligro  m.  danger 
peligroso,  -a  dangerous 
pelo  m.  hair,  thread 
pelon  m.  baldpate,  simpleton, 

skinflint,  needy  person 
pellejo  m.  hide,  skin 
pena  /.  sorrow,  trouble,  anxi- 
ety,  torture,   fine,    penalty; 

llevar  —  worry 
penetrar  penetrate 
pensamiento  m.  thought,  mind, 

resolution,  purpose 
pensar    think,    mean,    intend, 

plan,  imagine,  feed 
Pentecostes  m.  Pentecost 
pena/.  rock 
peor  arf/.worse,  worst 
peor  adv.  worse 
pepian   m.   a   kind   of   Indian 

fricassee 
pepita/.  pip 
pepitoria  /.  fricassee 
pera  /.  pear 
perada/.  pear  preserve 
perder  lose,  spoil;    echar  a  — 

ruin;     echar se    a   -  -    spoil, 

make  a  mess  of 
perdido,  -a  beside  oneself;  me 

lleva  —  you  drive  me  crazy 
perdon  m.  pardon,  indulgence; 

con  —  with  your  leave 


perdonar  pardon,  forgive 

perla/.  pearl 

pernada  /.  pear  preserve 

pero  but,  however 

perro  m.  dog;    dar  —  muerto 

disappoint  or  deceive  a  per- 
son 
persona  /.  person;  — s  people, 

dramatis  personae 
personaje   m.   personage 
persuadir  persuade 
perverse,  -a  wicked 
pesado,  -a  heavy 
pesadumbre  /.  sorrow,  trouble 
pesar  m.  sorrow,  trouble,  grief, 

concern 
pesar  grieve,  repent;   j  pese  a 

tal!  deuce  take  it! 
pescado  m.  fish 
pescador  m.  fisherman;   —  de 

cafia  angler 
pescar  fish,  catch,  fish  for,  pick 

up 
pesiar  utter  curses;  |  pesie  a  mi 

alma!  curse  my  soul!  hang 

it! 
petimetra   /.    young    lady    of 

fashion 
petimetre    m.    young    man    of 

fashion 

petimetre,  -a  affectedly  attired 
peti-serenata  /.  little  serenade 
pez  m.  fish 
piache:     (dialectical)  tarde  - 

it  peeps  too  late 
piar  peep 

pic  ante  piercing,  sharp 
picafla/.  hussy 
picar  jabber 

picarillo,  -a  little  rogue 
picaro  m.  rogue,  rascal 
picaro,  -a  rascally,  sly,  shame- 
less, base,  vile 


VOCABULARY 


219 


picaron  m.  rogue,  rascal 

pico  m.  beak,  tongue,  mouth, 

chatterbox;  hacer  el  —  pay 

for  one's  board 
pie    m.    foot,    last    player    at 

cards;   en  —  standing 
piedra  /.  stone 
pieza/.  room;  —  de  las  jaulas 

aviary 

pinon  m.  pine  kernel 
pitanza  /.  pittance 
pito  m.  whistle 

placer  m.  pleasure,  amusement 
placer  please;  plega  pres.  subj. 

3d  pers.  sing. 
placetilla  /.  little  square 
plaga  /.  plague,  misery 
planta  /.  sole  of  a  foot,  foot, 

plant,  shoot;  mover  las  — s 

bestir  oneself,  walk 
plantar  plant 
plata/.  silver 

plato  m.  dish,  plate,  course 
plaza     /.      fortress,      market, 

square,  place;    salir  a  —  be 

made    public;     socorrer    - 

give  help 

plazuela  /.  square,  place 
plebeyo,  -a  plebeian 
pleito  m.  lawsuit,  case;    poner 

—  sue 

pluma/.  feather 
pobre  m.  poor  person,  beggar, 

pauper 

pobre  poor,  wretched 
poco  m.  little  bit 
poco,  -a  not  much,  little,  few, 

some,  not  many 
poco   adv.  little,  a  short  time; — 

mas  o  menos  little  more  or 

less;   —  podra  not  far  from 

it;  ha  —  a  short  time  ago 
poder  be  able,  may,  can,  have 


power  for;  posso  pres.  ind. 
ist  pers.  sing. 

poder  m.  power;  por  — es  by 
proxy 

poderoso,  -a  powerful 

poesia  /.  poetry 

poeta  m.  poet 

polvo  m.  dust,  pinch  of  snuff 

polio  m.  chicken 

poner  place,  place  before,  put, 
put  on,  set,  set  before,  fix, 
make,  instil,  arrange,  pro- 
vide, bear,  defray;  —  mala 
cara  assume  a  doleful  look;  — 
miedo  a  frighten;  —  preito 
sue;  -  -  sobre  las  nubes 
praise  sky-high;  —  temor  a 
frighten;  — se  place  oneself, 
be  put,  put,  put  on,  adorn 
oneself,  get,  set  oneself; 
— se  a  begin  to;  — se  de 
rodillas  fall  to  one's  knees; 
pongase  todo  del  quebranto 
let  everything  go  to  smash 

poplejia  /.  a  comic  distortion  of 
apoplejia  apoplexy 

poquito,  -a  very  little,  very 
few 

por  on  account  of,  by,  through, 
for,  to,  for  the  sake  of,  in 
order  to,  in,  because,  as, 
upon,  along,  across,  instead 
of;  —  que  why;  —  si  if,  'in 
case 

Porcia  Portia 

poro  m.  pore 

porque  because,  in  order  that, 
so  that,  for 

porqueria/.  dirt 

portacuentos  m.  pi.  wallet  of 
yarns 

portal  m.  porch,  entrance 

posible  possible 


220 


VOCABULARY 


posta  /.  post,  stage;  por  la  — 
posthaste 

postres  m.  pi.  dessert 

potencia  /.  power,  faculty 

potranca  /.  filly 

precio  m.  price,  cost 

precise,  -a  necessary 

preguntar  ask,  question 

preito  =  pleito:    poner  —  sue 

premio  m.  reward 

prenda  /.  pledge,  jewel,  child; 
— s  natural  gifts,  parts, 
talents 

presencia  /.  presence 

presenter  present,  offer,  show 

presente  m.  present;  de  — 
now,  on  hand 

preso,  -a  m.,f.  prisoner;  llevar 
—  arrest 

presto  quickly,  soon 

pretender  aspire,  try,  allege, 
pretend,  press  a  claim 

pretendiente  m.  pretender 

preterite  m.  preterit,  past 

preterite,  -a  preterit,  past 

pretina  /.  belt 

prevenir  prepare,  arrange,  an- 
ticipate 

priesa  =  prisa  /.  haste,  hurry 

prima  /.  treble,  the  most  slender 
string  of  stringed  instruments 

primerito,  -a  very  first 

primero,  -a  first 

primero  adv.  first,  rather;  — 
que  conj.  before 

primo,  -a  first  rank,  excellent; 
obra  — a  new  work 

primo,  -a  cousin 

principal  principal,  chief,  essen- 
tial, valuable 

principio  m.  beginning,  course 

prisa  /.  haste;  de  —  quickly, 
hurriedly 


probar  prove,  try 

procurador  m.  lawyer,  solic- 
itor 

profundo,  -a  deep,  profound, 
great 

prometer  promise,  assure 

propio,  -a  similar 

proposito  m,  purpose;  a  — 
apropos,  suitable 

prosa  /.  prose,  tedious  conver- 
sation, absurd  speech;  hacer 
—  waste  words 

pr6spero,  -a  prosperous 

provecho  m.  profit;    buen  - 
much  good  may  it  do  you; 
sin  —  uselessly 

provechoso,  -a  beneficial 

proverbio  m.  proverb 

provocar  provoke,  rouse,  incite, 
move 

prudente  careful,  wise,  prudent, 
discreet 

puchero  m.  stew;  hacer  — s 
snivel 

puebro  =  pueblo  m.  town,  vil- 
lage 

puente  /.  bridge 

puerco  m.  pig 

puerta  /.  door 

pues  adv.  then 

pues  inter j.  then,  well;  —  no 
why  not 

pues  conj.  for,  since,  because, 
that;  —  que  since 

puesto  m.  place,  spot,  post 

pulmon  m.  lung 

pulsar  beat  (pulse)    . 

pulsista  m.  practitioner 

pulso  m.  pulse;  tomar  el  — 
feel  one's  pulse 

punta  /.  end,  extremity,  lace; 
— s  y  collar  earmarks 

punto  m.  stitch;    —  en  boca 


VOCABULARY 


221 


silence;    al  —  right  off,  at 
once;    en  —  exactly,  sharp 
punada /.  cuff;  — s  fisticuffs 
punado  m.  handful,  a  few 
puno    m.    fist;    de   -  -    coura- 
geously 
purchinela     m.      Punchinello, 

puppet 
purgar  purge 
puro,  -a  pure 


que  rel.  pron.  which,  that,  who, 

whom,  anything;  dem.  pron. 

el  —  etc.  he  who,  the  one 

who,  that  which 
que   conj.   for,   that,    so   that, 

than,  since,  as,  because;    a 

—  that,  so  that,  until;    con 

—  so,  provided  that,  if;    de 

—  that 

ique?  interrog.  pron.  what, 
something,  how,  what  a, 
why;  a  —  why;  con  — 
wherefore;  de  —  why,  vvhat, 
wherefore,  reason,  cause; 
no  hay  para  —  there  is  no 
reason;  para  —  why,  for 
what  purpose 

que  adv.  where,  when 

quebrantar  break;  buen  cora- 
zon  quebranta  mala  ventura 
fortune  favors  the  brave 

quebranto  m.  sorrow,  great 
loss;  pdngase  todo  del  —  let 
everything  go  to  smash 

quebrar  break,  break  open; 
-  la  cabeza  bother;  — se 
break 

quedar(se)  remain,  be,  be  left, 
stay;  quede  por  mi  act  for 
myself 


quedito  softly,  gently 

quedo  softly,  gently 

quejarse  complain,  dispute, 
moan 

quel  =  que  el 

quella  =  que  ella 

querer  wish,  like,  love,  want, 
care,  try,  seek,  be  about  to, 
will,  resolve;  —  bien  love; 
—  decir  mean;  —  mal  dis- 
like; — se  like  each  other, 
cherish  each  other 

ques  =  que  es 

i  ques?  =  £  que  es? 

quien  rel.  pron.  who,  one  who, 
which;  — quiera  any  what- 
ever, ordinary,  indifferent 

£  quien?  pron.  who? 

quienquiera  any  whatever, 
ordinary,  indifferent 

quieto,  -a  quiet,  calm 

quietud/.  quiet,  peace,  serenity 

quijada  /.  jawbone,  jaw 

quimera  /.  trick,  idea,  scheme 

quince  fifteen 

quinto,  -a  fifth 

quistion  =  cuestion  /.  quarrel 

quitar  take  away,  remove, 
steal;  al  —  of  short  dura- 
tion, trial;  — se  withdraw 

quito,  -a  cleared 

quiza  perhaps 


rabano  m.  radish 

rabia    /.    rabies,    rage,    fury; 

i  asi     mala  la    mate ! 

plague  take  her! 
rabiar    make    furious;       -    de 

hambre  be  furiously  hungry; 

—  por  long  for 
rama  /.  branch 


222 


VOCABULARY 


Ram6n  Raymond 

rana  /.  frog;  ser  —  be  apt,  be 
pat 

rapar  shave 

rapaza/.  girl 

rapido,  -a  rapid,  quick 

raro,  -a  rare,  strange,  unusual 

rasgar  tear,  rend,  cut,  open 

rastra  /.  dragging  along 

rastreado  m.  rastreado  (a 
dance) 

rastro  m.  rastro  (a  dance), 
slaughterhouse 

rato  m.  short  space  of  time, 
time,  mouse;  de  --  a  — 
from  time  to  time 

rauta/.  way,  road;  coger  la  — 
clear  out 

raya  /.  limit,  bounds 

rayo  m.  thunderbolt,  lightning 

razon  /.  reason,  reasoning, 
right,  word,  talk 

real  m.  real  (Spanish  coin), 
camp 

recado  m.  message,  errand, 
testimonial 

recamara  /.  baggage,  jewel 
casket,  trick 

recato  m.  bashfulness,  pru- 
dence, propriety,  care,  cun- 
ning 

recelo  m.  misgiving,  apprehen- 
sion, fear 

recenar  sup  again 

receta  /.  prescription,  recipe 

recetar  prescribe 

recibir  receive,  accept 

recio  loudly 

reciproco,  -a  reciprocal 

recogerse  betake  oneself,  take 
shelter 

recogimiento  m.  seclusion,  re- 
serve 


redoma  /.  flask 

redondo,  -a  round 

refran  m.  proverb 

refranero  m.  collection  of  prov- 
erbs 

refrescar  refresh;  sacar  de  — 
bring  in  refreshments 

regalado,  -a  sumptuous, 
dainty,  squeamish 

regalar  entertain,  cheer,  favor 
with;  — se  feast,  eat  heartily 

regalo  m.  gift,  dainty 

regla  /.  rule 

regodeo  m.  joke 

rehusar  refuse 

reina  /.  queen 

Reinaldos  Reinaut 

reir  laugh 

relatar  tell 

relente  m.  slowness 

reliquia  /.  remains 

reloj  m.  clock 

rematar  end 

remediarse  be  cured 

remedio  m.  remedy,  help;  sin 
—  I  can't  help  it,  there  is  no 
way  out  of  it 

remostado,  -a  musty 

rendir  surrender,  give  up, 
overcome 

renegar  abhor,  denounce, 
curse,  renege,  revoke 

renuevo  m.  shoot,  sprout 

refiir  fight,  scold,  reproach, 
quarrel,  quarrel  over 

reparar  notice,  consider,  stop, 
give  heed,  give  warning;  — 
en  notice;  — se  forbear,  re- 
frain 

repartir(se)  divide,  scatter 

repelon  m.  hair  pulling 

repente:  de  —  suddenly,  im- 
provised 


VOCABULARY 


223 


reperdonar  pardon  again 

repetir  repeat,  claim 

repicar  jabber  and  jabber 

reportarse  forbear,  calm  down 

representar  play,  perform 

reptar  challenge 

requebrajo  m.  ravine,  crack, 
cliff;  modern  resquebrajo 

requedito  very  gently 

requemado,  -a  inflamed, 
brown-colored 

reservado,  -a  confidential,  se- 
cret 

resolver  resolve,  determine; 
— se  resolve,  be  resolved 

respeto  m.  respect,  regard,  con- 
sideration 

respingo  m.  kick 

responder  answer,  respond 

respuesta  /.  reply,  answer 

resto  m.  rest;  echar  el  —  stake 
all 

resultar  result,  follow 

retablo  m.  picture,  canvas, 
show;  hacer  —  make  a  long 
enumeration 

retirado,  -a  remote,  secluded, 
solitary 

retirarse  retire,  withdraw 

retroceder  draw  back 

reventar  burst,  die  (figurative) 

revestir  be  invested  with,  be 
entangled  in 

rey  m.  king;  los  — es  Epiphany 

rico,  -a  rich,  valuable,  nice, 
choice,  fine 

riesgo  m.  danger 

rigido,  -a  rigid,  rigorous,  severe 

rigor  m.  vehemence,  severity; 
en  —  at  most,  surely,  really 

rincon  m.  corner 

rifla/.  quarrel 

robar  rob,  steal 


rocin  m.  nag,  hack 

rodar  roll,  turn;  echar  a  — 
upset,  knock  over 

rodear  surround,  go  round 
about 

rodilla  /.  knee;  de  — s  kneel- 
ing; ponerse  de  — s  fall  to 
one's  knees 

rogar  ask,  beg 

rollizo,  -a  robust 

rollo  m.  column 

Roma  /.  Rome 

romance  m.  ballad 

romancero  m.  collection  of 
ballads 

romancista  adj.  ballad  singing 

romper  break,  pound  to  pieces 

ropa  /.  clothes,  robe,  gown 

rosca/.  roll 

rostro  m.  face 

roto,  -a  ragged,  worn 

rudeza  /.  stupidity 

rueda  /.  wheel 

rufian  m.  pander 

ruido  m.  noise,  sound 

ruin  vicious 

rumor  m.  rumor,  report 


saber  know,  learn,  find  out,  be 
able,  know  how,  relish;  —  a 
taste  of;  —  de  understand; 
— se  be  known 

sabidor,  -a  one  who  is  in- 
formed; hacednos  — es  in- 
form us 

sabio  m.  wise  man 

sabio,  -a  learned,  wise 

sacar  bring,  bring  out,  take, 
take  out,  stick  out,  pull 
out,  pluck,  discover,  obtain, 
make  out,  infer,  save;  —  el 


224 


VOCABULARY 


vientre  de  mal  ano  dine 
better  than  usual;  —  este 
pellejo  de  mal  ano  dine 
better  than  usual 

saco  m.  sack,  plunder 

sacristan  m.  sacristan,  sexton 

sacudir  beat,  dust,  shake 

sainete  m.  farce 

sajar  scarify 

sal  m.  salt 

sala  /.  drawing-room 

salamanqueso,  -a  Salamancan 

salir  go  out,  come  out,  come  in, 
enter,  appear,  set  off,  hap- 
pen, become,  succeed,  es- 
cape; —  a  plaza  be  made 
public;  —  con  succeed;  — 
de  leave,  get  over;  — se  set 
off,  dash 

salmantino,  -a  Salamancan 

salsa  /.  sauce 

saltar  jump 

salud  /.  health 

saludar  salute,  greet 

salva  /.  tasting;  hacer  la  — 
do  the  tasting;  hacerse  la 
—  salute  one  another 

salvaje  savage,  foolish 

salvar  pass  over,  cross,  avoid 

san  (abbrev.  of  santo)  m.  saint 

sanar  get  well,  recover 

sancto,  -a  holy 

sangrador  m.  bloodletter 

sangrar  bleed 

sangre/.  blood 

sangria/.  bleeding 

sano,  -a  well,  cured,  healthy, 
sound;  dar  —  a  cure 

santo,  -a  saint;  hacer  — s  per- 
form good  works 

santo,  -a  holy,  blessed 

sapiente  adj.  wise,  learned 

sardina  /.  sardine 


sarna  /.  itch 

sarten  /.  frying  pan 

sastre  m.  tailor 

satisfacer  satisfy 

Saturno  Saturn 

sayuelo  m.  little  frock 

se  pron.,  m.,  /.,  dot.,  ace.,  sing., 
pl.  him,  himself,  itself,  her- 
self, oneself,  themselves,  you, 
yourself,  each  other,  one 
another 

seco,  -a  dried;  en  —  without 
accompaniment 

secretaria/.  confidant 

secreto  m.  secret 

secreto,  -a  secret,  circumspect, 
discreet,  confidential 

seguidilla  /.  seguidilla 

seguir  follow,  pursue,  con- 
tinue, go  on 

segun  according  to,  judging  by, 
as 

segundo,  -a  second 

seguridad  /.  safety,  certainty, 
confidence 

seguro,  -a  secure,  safe,  sure, 
free  from  danger 

seis  six 

semana  /.  week;  —  santa 
Passion  Week 

semejante  similar,  such 

sempiterno,  -a  everlasting 

senda/.  path 

sendos,  -as  the  same 
number  as,  the  respective 
number 

sensible  regrettable,  sorrowful 

sentar  seat,  place;  — se  sit 
down,  sit 

sentido  m.  sense;  sin  — s 
senseless,  unconscious 

sentimiento  m.  emotion,  regret, 
grief 


VOCABULARY 


225 


sentir  feel,  hear,  perceive,  suffer 
from,  regret,  see;  — se  feel 

sefia  /.  sign,  mark;  — s  descrip- 
tion, characteristics;  con  — s 
declaradas  clearly  indicated 

seflal  /.  mark,  symptom 

senalar  mark,  show,  point  to, 
indicate 

sefior  m.  sir,  master,  lord, 
gentleman 

sefiora  /.  mistress,  lady, 
madam,  wife 

seor  (contraction  of  sefior)  m. 
gentleman,  lord,  sir,  Mr. 

septimo,  -a  seventh 

ser  be;  soy  pres.  ind.  ist  pers. 
sing.;  —  de  belong  to,  be- 
come of;  si  yo  fuera  que 
vuesa  merced  if  I  were  you; 
yo  soy  it  is  I 

ser  m.  being,  value 

seriedad  /.  seriousness 

serio,  -a  serious,  sober 

ser6n  m.  hamper 

servilleta  /.  napkin 

servir  serve,  be  useful;  —  de 
serve  as;  — se  be  pleased, 
please;  i  de  que  sirve  ?  what 
is  the  use  of? 

sesenta  sixty 

sesgo,  -a  motionless,  sedate, 
quiet 

seso  m.  sense 

Sevilla/.  Seville 

si  conj.  if,  I  wonder  whether, 
whether,  why;  —  no  not, 
unless  otherwise;  por  —  if, 
in  case 

si  adv.  yes,  indeed,  yea,  cer- 
tainly; de  —  yes;  que  —  yes 

si  m.  asse.nl,  consent 

si  pron.  itself,  herself,  himself, 
yourself,  themselves 


siempre  adv.  always,  ever;  — 
que  conj.  whenever 

siete  seven 

siglo  m.  century,  age 

signo  m.  sign  of  the  zodiac 

siguiente  following 

silencio  m.  silence,  quiet 

Suva  /.  silva  (a  meter) 

silvatillo  m.  little  whistle 

silla/.  chair 

simple  m.  simple,  clown,  idiot 

simple   foolish 

simplon,  -a  booby 

simplonazo  m.  big  booby 

sin  prep,  without;  —  que 
conj.  without 

sino  only,  except,  but,  other- 
wise, if  you  don't  think  so, 
but  also;  no ...  sino  only, 
nothing  .  . .  but;  —  que 
only,  but,  except 

siquiera  at  least,  even 

sirvienta  /.  servant 

sobra  /.  surplus;   — s  leavings 

sobrar  have  or  be  more  than 
enough 

sobre  about,  as  to,  upon,  con- 
cerning, above 

sobrina  /.  niece 

socorrer  help,  relieve;  —  la 
plaza  give  one  help 

sofreir  =  sufrir 

sofrir  =  sufrir 

soga  /.  rope 

soldado  m.  soldier 

soledad  /.  solitude,  loneliness 

soler  be  accustomed,  used  to, 
apt  to 

solicito,  -a  solicitous 

solo,    -a    alone,    only; 
alone;  a  —  alone 

s61o  only,  just 

soltarse  break  loose 


226 


VOCABULARY 


sombra  /.  shade,  shadow,  re- 
semblance, appearance,  fancy 
s6n  m.  sound,  noise 
sonar  sound,  resound,  ring,  be 

rumored;    — se  be  rumored, 

be  reported 
sopa  /.   sop;    hecho   una   — 

dagua  wet  as  sop 
soplar  blow 
sordo,  -a  deaf 
sortija  /.  ring 
sosegado,  -a  calm,  quiet 
sosegarse  be  calmed 
sosiego    m.    peace    of    mind, 

ease 

sot  ana  /.  cassock,  drubbing 
su  his,  her,  its,  their 
subir(se)  mount,  rise,  go  up 
suceder  happen,  succeed 
suceso   m.   event,   occurrence, 

outcome,  success 
sucio,  -a  dirty 
sudar  sweat,  toil 
sudor  m.  sweat 
suegro  m.  father-in-law 
suela/.  sole 

suelo  m.  ground,  earth,  floor 
suelta  /.  broadside,  leaflet 
suelto,  -a  loose,  free 
suefio  m.  sleep 
suerte  /.  sort,  fate,  luck;    de 

—  que  of  such  a  sort  that, 

so  that 
sufrir  suffer,  endure,  tolerate, 

stand;   — se  be  endured,  be 

tolerated 
suplicar  entreat 
suplir  overlook,  excuse 
suspender  stop 
suspense,     -a     in     suspense, 

amazed,  surprised 
suspirar  sigh 
suspiro  m.  sigh 


sustancia  /.  substance,  nutri- 
ment 

sustentar  support,  bear 

sustento  m.  food 

susto  m.  fright,  shock;   dar  — 
frighten 

sutil  subtle,  cunning 

suyo,  -a  adj.  his,  your;    el  — 
pron.  hers,  his,  yours;  hacer 
de  las  — as  be  up  to  one's 
tricks 


tabahola  /.  hubbub 

taberna  /.  tavern 

tablado  m.  stage 

tablas  /.  pi.  backgammon, 
drafts 

taimado,  -a  cunning,  sly 

tajada  /.  slice,  fritter 

tajadita  /.  little  slice,  little 
fritter 

tal  adj.,  pron.  such,  such  a 
thing,  such  a,  equal,  afore- 
said, so  and  so;  —  para  cual 
one  as  good  as  another;  — 
vez  perhaps,  occasionally; 
el  —  that  person,  that,  the 
aforesaid 

tal  adv.  such,  thus,  so 

talla/.  size;  de  media  —  "one 
horse,"  half  baked 

talle  m.  figure,  appearance, 
manner 

tamaflito,  -a  very  little,  little 
as  that 

tamaflo,  -a  so  great,  so  little 

tambien  also,  too,  likewise, 
moreover 

tampoco  neither,  not  either 

tan  so,  so  much,  such  as;  — 
. . .  como  as  ...  as 

T&ntalo  Tantalus 


VOCABULARY 


227 


tanto,  -a  adj.,  pron.  so  much, 
as  much,  so  great,  such  a 
great;  pi.  so  many,  as  many; 
otros  — s  as  many  more 

tanto  adv.  so,  so  much;  — 
como  as  much  as,  all  that,  as 
well  as;  -  cuanto  how 
much;  en  —  in  the  mean- 
time 

tapa/.  lid,  cover 

tapiz  m.  tapestry 

tarasca  /.  ugly  woman,  fright 

tardar(se)  be  delayed,  take 
long,  be  long 

tarde  late,  too  late;  —  piache 
it  peeps  too  late 

tarde  /.  afternoon,  evening; 
por  la  —  in  the  afternoon 

tarea  /.    work,    suffering;     ha 
llevado  la  mochacha  la  - 
the  girl  has  paid  the  penalty 

tarjeta  /.  card 

tasa  /.  stint 

taza  /.  cup 

te  thee,  thyself 

teatro  m.  theater 

teglerifo  m.  probably  a  comic 
distortion  of  tegumento  tegu- 
ment 

tela  /.  fabric,  cloth 

tematico,  -a  stubborn 

temblar  trertible,  beat 

temer  fear;  4-se  fear,  be  afraid 
of 

temor  m.  fear 

tempestad  /.  storm 

templado,  -a  tuned 

temprano   early 

tenedor  m.  fork 

tener  have,  hold,  keep,  stop, 
arrest,  resist;  -  -  de  +  inf. 
must,  can,  have  to;  —  por 
consider;  —  que  have  to; 


cuando  no  tiene  de  que 
when  you  have  nothing; 
Dios  me  tenga  de  su  mano 
may  God  help  me;  £  que 
tienes?  what  is  the  matter? 
— se  stop,  restrain  oneself; 
terna  Jut.  jd  pers.  sing.; 
terneis  jut.  2<L  pers.  pi. 

tentacion/.  temptation 

tentar  tempt,  try,  touch,  ex- 
amine, feel 

terciana  /.  tertian  fever 

Terencio  Terence 

termino  m.  period,  limit,  time 

ternero,  -a  veal 

terrible  terrible 

tertulia  /.  soiree,  reception, 
guest 

tertuliante  m.  guest 

tesoro  m.  treasury,  thesaurus 

testamentario,  -a  testamen- 
tary; lo  —  probate  matters 

testamento  m.  testament,  will 

testigo  m.  witness 

Tetudn  m.  Tetuan  (city  in 
Morocco) 

ti  thee,  thyself 

tiempo     m.     time,     occasion, 
length  of  time;    a  un  —  at 
the    same    time;     tanto    - 
so  long 

tierno,  -a  tender,  soft 

tierra  /.  land,  country,  earth; 
poner  —  en  medio  set  off 

tieso,  -a  stiff,  stubborn;  nin- 
guna  a  — a  me  gana  nobody 
can  beat  me  for  stubborn- 
ness 

tigre  m.  tiger 

tinieblas  /.  pi.  darkness,  night 

tinto,  -a  red 

tifioso,  -a  scurvy,  mean 

tio  m.  uncle 


228 


VOCABULARY 


tipsana  /.  infusion,  decoction 

tirar  a  resemble 

tftere  m.  puppet 

titulillo  m.  trifle,  fussiness 

tizon  m.  firebrand 

tizona  /.  Tizona  (name  of  the 

Cid's  sword),  sword 
tizonazo  m.  blow  with  a  fire- 
brand 
toca  /.  cap 

tocado  m.  headdress,  coiffure 
tocajado,    -a    with    bandaged 

head 
tocar    play,    touch,    dress    the 

hair;  estar  bien  tocada  have 

a  fine  coiffure 
tocinillo  m.  little  bacon 
tocino  m.  bacon 
todo,  -a  adj.  all,  every,  each; 

con  —  esto  nevertheless 
todo,  -a  pron.  all,  everything; 

— s    everybody,    all;    y  —  , 

also,  too 
tohalla  /.  towel 
;toma!  inter j.  there!  what!  well! 
tomar   take,   eat,   catch,   feel, 

drink,  overtake;  toma  imper. 

zd     pers.     pi.     take      that! 

tomad  por  estas  take  that 

way;  — se  be  taken,  be  drunk 
tomares  m.  pi.  takings,  disputes 
tontazo,  -a  big  idiot 
tonto,  -a  fool 
tonton,  -a  idiot 
toque  m.  point 
toquera  /.  milliner 
torcer  divert,  turn  aside 
tornar    return;     —    a  +  inf. 

do  again,  repeat  an  act 
toro  m.  bull 

torpe  slow,  awkward,  difficult 
torrezno  m.  rasher  of  bacon 
tortada  /.  large  pie 


tozino  =  tocino 

trabajo  m.  work 
traduccion  /.  translation 
traer  bring,  have,  carry,  use, 

wear,    cause,    keep;     trujo 

past  absolute  jd  pers.  sing.; 

traeme  debilitado  causes  my 

weakness;  — se  be  brought 
tragar  swallow,  believe,  drink, 

endure 

traicion  /.  treason,  treachery 
traidor  m.  traitor 
tramposo  m.  swindler 
tranca  /.  bar,  pole 
Transilvania  /.  Transylvania 
trapillo  m.  sweetheart 
tras   m.    stroke,    noise;     j — I 

slam  bang! 

tras  prep,  after,  behind 
trascender  emit  a  good  strong 

odor,  penetrate 
trasegar    decant,    pour    forth, 

retail 

traslucirse  conjecture,  infer 
trasquilar  shear 
tratado  m.  treatise 
tratar   try,   treat;    —   de   be 

resolved,  try 
trato  m.  manner,  trade,  friends; 

tener  buenos  — s  be  polite, 

be  hospitable 

travieso,  -a  restless,  turbulent 
traza/.  plan,  scheme 
trecho  m.  distance 
treinta  thirty 
trSmulo,  -a  trembling 
tres  three 
tresquilar  shear 
trigo  m.  wheat 
triste  sad;  —  de  mi  wretched 

me 

triunfo  m.  triumph 
trocada:   a  la  —  contrariwise 


VOCABULARY 


229 


trote  m.  trotting 

trova/.  a  metrical  composition; 

entender  la  —   understand 

his  trick 
tu  adj.  thy 
tu  pron.  thou;  —  por  —  tit 

for  tat 

tuerto,  -a  crooked,  twisted 
Tunez  Tunis  (city  in  Africa) 
turbar  disturb,  upset,  trouble 
Turco,  -a  Turk;  gran  —  Sultan 
tus  inter j.  come,  here 
tuyo,  -a  adj.  thy;    el  —  pron. 

thine 

U 

ultimo,  -a  last 

un,  -a  indef.  art.  a,  an 

unico,  -a  only,  unique,  un- 
matched 

lino,  -a  adj.,  pron.  one,  some 
one,  any  one;  pi.  some, 
several,  a  few,  so  many; 
— s  a  otros  one  another,  each 
other;  — s  con  otros  one 
another,  each  other;  los  — s 
some;  todo  para  mi  viene  a 
ser  —  it  is  all  the  same  to 
me 

uno,  -a  one 

untar  grease;  -  -  una  diente 
take  the  edge  off  of  one's 
appetite 

urgencia  /.  need 

usar  use,  make  use  of;  — se 
be  used,  be  the  fashion 

uso  m.  custom,  style,  fashion 

uste  you 

usted  you 

uva/.  grape 

V 

vaciar  empty,  divulge 
vahear  steam 


valentia  boldness,  gallantry, 
blustering,  cleverness;  tener 
—  be  bold 

valer  be  worth,  help,  avail, 
prevail,  be  good  for;  vala 
pres.  subj.  jd  pers.  sing.; 
mas  vale  it  is  better;  — se 
make  use  of 

valiente  valiant,  brave,  power- 
ful, arrogant,  blustering 

valor  m.  value 

vano,  -a  vain,  idle,  empty, 
useless,  foolish 

vara/.  yard 

varies,  -as  pi.  various 

vaso  m.  glass,  vase 

vaya  /.  scoff,  jeer,  jest;  dar  — 
jeer 

vecino,  -a  neighbor 

vedufio  m.  quality,  variety 

veinte  twenty;  —  y  cinco 
twenty-five;  —  y  tres 
twenty-three 

veintecuatro  m.  alderman; 
modern  veinticuatro 

vejamen  m.  taunt 

vejete  m.  old  man 

vela  /.  candle 

velar  watch,  be  wakeful 

vena/,  vein,  luck,  prosperity 

veneer  conquer,  overcome 

vender  sell;  — se  be  sold 

venerable  venerable 

venganza/.  revenge,  vengeance 

vengar  avenge,  revenge 

venir  come,  bring,  go,  result, 
be,  turn  out;  —  de  +  inf. 
have  just;  bien  venido  wel- 
come; vengo  aturdido  I  am 
amazed;  — se  come,  come 
along;  — se  abajo  fall 

venta  /.  inn 

ventaja  /.  advantage 


230 


VOCABULARY 


ventana  /.  window 
ventosa  /.  cupping  glass,  cup- 
ping;  echar  — s  cup 
ventura    /.     happiness,    luck, 

fortune;    por  —  perchance; 

sin  —  wretched,  unfortunate 
venturoso,  -a  fortunate 
ver  see;    via  imperf.  Zd  pers. 

sing.;  ve  aqui,  ve  ahi  behold 
veras    /.  pi.     truth;      de 

really,  truly,  in  earnest 
verbigracia  (Latin)  for  example 
verbo  m.  verb 
verdad  /.  truth,  veracity;    en 

—  indeed 

verdaderamente  indeed,  really 
verdadero,  -a  true,  real 
vergonzoso,     -a     shamefaced, 

bashful 
vergiienza  /.  shame,  modesty; 

tener  —  be  ashamed 
verso  m.  verse,  line 
vestido  m.  clothes,  garb 
vez  /.  time,  draught  of  wine; 

de  una  —  once  for  all,  at 

once;      dos     veces     twice; 

muchas  veces  often;   tal  - 

perhaps,  occasionally 
via  /.  road,  path,  journey 
vianda  /.  food,  meal 
vicio  m.  vice;  hablar  de  —  be 

a  confirmed  chatterer 
vid  /.  grapevine 
vida  /.  life 
vidrio  m.  glass,  pane 
vidrio  m.  glass 
viejo,  -a  old 
viento  m.  wind 
vientre  m.  stomach;    sacar  el 
-  de  mal  aflo  dine  better 

than  usual 
viernes  m.  Friday 
vigilante  vigilant 


Villadiego  Villadiego;  tomar 
las  de  —  take  to  one's  heels 

villancico  m.  carol'  (sung  in 
churches  on  certain  festivals) 

villano  m.  peasant 

villano,  -a  mean,  villainous 

vinagre  m.  vinegar 

vinillo  m.  little  wine 

vino  m.  wine 

violencia  /.  violence 

virgen  /.  virgin 

virtud  /.  power,  virtue 

visita  /.  visit,  call,  caller 

visitar  visit,  call  on 

visperas  /.  pi.  vespers 

vista  /.  sight,  look 

viuda  /.  widow 

viudo  m.  widower 

vivir(se)  live;  j  vive  Dios  !  as 
God  lives  !  by  God  ! 

vivo,  -a  living,  alive 

vizcaino,  -a  Biscayan 

Vizcaya  /.  Basque 

vd.  you;  de  —  of  yours 

vocablo  m.  word 

vocabulario  m.  vocabulary 

volar  fly,  hurry,  disappear; 
va  volada  has  gone  glimmer- 
ing 

volateria  /.  poultry 

volcan  m.  volcano 

voluntad  /.  will,  desire 

volver  return,  come  back,  go 
back,  give  back,  recover, 
recover  consciousness;  —  a 
+  inf.  do  again,  repeat  an 
act;  —  de  recover  from;  - 
en  si  recover  one's  senses, 
regain  consciousness;  — se 
return,  turn,  become 

vomitar  vomit 

vos  you,  yourself 

vosotros,  -as  you 


VOCABULARY 


231 


votar  vow,  swear;    voto  a ... 

by... 
voz  /.  voice,   word,  shout;    a 

voces    loudly;     dar    voces 

shout 
vuelta/.  turn,  return;  dar  una 

—  take  a  walk 
vuesarced  your  worship 
vuesarcedes  your  worships 
vuesaste  you 
vueso,  -a  your 
vuestro,  -a  adj.  your,  of  yours; 

pron.    yours;     el    -  -    pron. 

yours 

vulgo  m.  multitude 
vusted  you 


y  and,  and  yet;  —  todo,  also, 
too 

ya  adv.  now,  already,  then, 
indeed;  -  -  que  conj.  now 
that,  since,  as  soon  as 

yantar  dine 

yegua  /.  mare 

yerno  m.  son-in-law 

yerro  m.  mistake,  fault 


yo  I 

yos  =  yo  os 


zafio,  -a  vulgar,  rude 

zahori     m.     diviner,     treasure 

finder 
zala  /.   salaam;    hacer  la  — 

salaam 
zambapalo    m.    zambapalo    (a 

dance) 
zambra  /.    a    party    attended 

with  dancing  and  music 
Zamorano,  -a  Zamoran 
zampar  devour 
zanca  /.  leg,  shank;    ave  — s 

crane 

zancudas  /.  pi.  wading  birds 
zapatero  m.  shoemaker,  cobbler 
zapato  m.  shoe 

zarabanda/.  saraband  (a  dance) 
zarandajas  /.  pi.  dainties 
zarzuela  /.  zarzuela  (a  dramatic 

performance) 
zorra  /.  fox 
zurdo,  -a  left-handed 
zurrar  beat 


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